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[
"All Time Low",
"2011: Dirty Work",
"Was this an album?",
"All Time Low released their fourth studio album almost a year later, titled Dirty Work,",
"Which year was it released?",
"in June 2011,",
"What was done before the album was released?",
"In March 15, 2010, All Time Low released the song \"Painting Flowers\"",
"Which album was this song on?",
"album Almost Alice,",
"Did this album chart on the billboard or others?",
"Dirty Work, in June 2011, after being pushed back from a March release date. The album is currently All Time Low's highest-selling album to date overseas.",
"Did they tour?",
"In spring of 2011, All Time Low embarked on the Dirty Work Tour even though the album was not yet released,"
] |
C_0fd9a62a282441e1873e80a5a9ce7595_0
|
What were some of the locations for this one or others?
| 7 |
What were some of the locations for All Time Low's concerts?
|
All Time Low
|
All Time Low returned to Ireland & The UK in January and February 2010 as they headlined the Kerrang! Relentless Tour 2010 With The Blackout, My Passion and Young Guns. They played a few mainland Europe shows immediately afterward, mostly in countries they had never been before. All Time Low returned to Australia in February and March to play at Soundwave festival. All Time Low co-headlined The Bamboozle Roadshow 2010 between May and June, with Boys Like Girls, Third Eye Blind, and LMFAO, along with numerous supporting bands including Good Charlotte, Forever The Sickest Kids, Cartel, and Simple Plan. All Time Low played the Reading and Leeds Festival 2010 in the UK over the August Bank Holiday. All Time Low headlined the My Small Package Tour in fall 2010, with supporting acts A Rocket to the Moon and City (Comma) State. Halfway during the tour, Before You Exit became a supporting act. On October 24, Storm The Beaches opened on the Baltimore date of the tour. In March 15, 2010, All Time Low released the song "Painting Flowers" for the album Almost Alice, the soundtrack for the fantasy-adventure film Alice in Wonderland. They then began writing for their fourth studio album, which would also be their major label debut. Demos for the band's album leaked to the web in August 2010. The band later confirmed in an interview which tracks would be on the upcoming album. All Time Low released their fourth studio album almost a year later, titled Dirty Work, in June 2011, after being pushed back from a March release date. The album is currently All Time Low's highest-selling album to date overseas. It earned the album a peak position of No. 13 in Australia and Canada and No. 20 in the UK. In spring of 2011, All Time Low embarked on the Dirty Work Tour even though the album was not yet released, supported by Yellowcard, Hey Monday, and The Summer Set. They were joined by Yellowcard and Young Guns on their UK tour shortly after. All Time Low concluded their summer 2011 tour, "Gimme Summer Ya Love Tour", with opening acts Mayday Parade, We Are The In Crowd, The Starting Line, Brighter, and The Cab. In September 2011, the band was scheduled to play at Soundwave Revolution in Australia, but the festival was cancelled. All Time Low co-headlined a mini-festival tour, Counter Revolution, in its place. The band finished their fall 2011 tour, "The Rise and Fall Of My Pants Tour" with The Ready Set, He Is We, and Paradise Fears. In Canada, the group toured with Simple Plan, Marianas Trench, and These Kids Wear Crowns. CANNOTANSWER
|
UK tour
|
All Time Low is an American rock band from Towson, Maryland formed in 2003. Consisting of lead vocalist/rhythm guitarist Alex Gaskarth, lead guitarist Jack Barakat, bassist/backing vocalist Zack Merrick, and drummer Rian Dawson, the band took its name from lyrics in the song "Head on Collision" by New Found Glory. The band has consistently done year-long tours, has headlined numerous tours, and has appeared at music festivals including Warped Tour, Reading and Leeds, and Soundwave.
Beginning as a band in high school, All Time Low released their debut EP, The Three Words to Remember in Dealing with the End EP, in 2004 through local label Emerald Moon. Since then the band has released eight studio albums: The Party Scene (2005), So Wrong, It's Right (2007), Nothing Personal (2009), Dirty Work (2011), Don't Panic (2012), Future Hearts (2015), Last Young Renegade (2017), and Wake Up, Sunshine (2020). They released their first live album, Straight to DVD, in 2010, and released their second live album, Straight to DVD II: Past, Present and Future Hearts, on September 9, 2016.
History
2003–2006: Formation and The Party Scene
Formed while still in high school in 2003, All Time Low began covering songs by pop punk bands such as Blink-182. The band's line-up included Alex Gaskarth on vocals, Jack Barakat on guitar, TJ Ihle on lead guitar and backing vocals, Chris Cortilello on bass, and Rian Dawson on drums. Cortilello and Ihle left the band, resulting in the band laying dormant until Zack Merrick joined on bass and Gaskarth picked up guitar. They released a four-song EP in November before signing to Emerald Moon Records in 2004. They released their second EP, titled The Three Words to Remember in Dealing with the End EP later that same year. The band released their debut studio album, The Party Scene, in July 2005.
In December, it was announced that the band was no longer signed, but were attracting attention from a number of record labels. In late 2006, the band performed a showcase for John Janick the founder of record label Fueled by Ramen. They were not signed because Cute Is What We Aim For had recently been taken on by the label, which was not in a position to sign another band at the time. The band was brought to the attention of Hopeless Records by fellow touring band Amber Pacific; on March 28, 2006, it was announced that All Time Low had signed with Hopeless. The band said in an interview that they were starting to get serious about music while in their senior year of high school; following their graduation, the members focused on the group full-time, and released the Put Up or Shut Up EP in July. The EP entered the Independent Albums chart at No. 20 and the Top Heatseekers at No. 12.
All Time Low began a busy tour in support of the EP in late 2006. After the tour, the band began writing material for their second studio album.
2007–2008: So Wrong, It's Right
In the summer of 2007, All Time Low played the Vans Warped Tour on the Smartpunk Stage. They made their live debut in the UK in late 2007 supporting Plain White T's.
All Time Low released their second studio album So Wrong, It's Right in September 2007. It peaked at No. 62 on the Billboard 200 and No. 6 on the Independent Albums chart. The second single from the album, "Dear Maria, Count Me In", which was written about a stripper, became the band's first single to reach the charts and peaked at No. 86 on the Pop 100. In 2011, the single was certified Gold for 500,000 shipments.
In early 2008 the band completed their first headlining tour, the Manwhores and Open Sores Tour with opening acts Every Avenue, Mayday Parade, and Just Surrender.
Following the release of So Wrong, It's Right, All Time Low quickly gained popularity, eventually making their TRL debut on February 12, 2008. They have also been featured on MTV's Discover and Download and Music Choice's Fresh Crops, and have been added to both MTV's Big Ten and MTV Hits playlists. On March 7, 2008, the band made their live television debut on Jimmy Kimmel Live! and then performed live at the mtvU Woodie Awards.
From March 2008 to May 2008, they co-headlined the AP Tour 2008 with The Rocket Summer; supported by acts such as The Matches, Sonny Moore, and Forever the Sickest Kids. In May 2008 they played at the Give It a Name Festival. Also in May 2008, they co-headlined a UK tour with Cobra Starship. In July 2008, the band headlined the Shortest Tour Ever with supporting acts Hit the Lights, Valencia, and There for Tomorrow. From mid-July to mid-August they played the 2008 Vans Warped Tour. They ended 2008 with their headlining tour, The Compromising of Integrity, Morality and Principles in Exchange for Money Tour with Mayday Parade, The Maine, and Every Avenue.
In December 2008, All Time Low was named "Band of the Year" by Alternative Press magazine and featured on the cover of their January 2009 issue.
2009–2010: Nothing Personal
In early 2009, All Time Low confirmed in an interview with UK magazine Rock Sound that they had begun writing new material for a third studio album and revealed they had collaborated with artists and producers to help co-write a number of songs.
Although still in the writing process, All Time Low began recording for their new album in January 2009, they finished recording only a month later. The album's lead single "Weightless" was released in March 2009 and became the band's first song to achieve some radio play worldwide. The song was included during the band's appearance at major concert venues, such as Bambooozle in May 2009, to promote the new album.
All Time Low released their third studio album Nothing Personal in July 2009. Before its official release, the full album was made available for streaming download one week earlier through MTV's The Leak.
Billboard magazine predicted that the album "looked like it could" enter the top ten of the Billboard 200 in its debut week, with anywhere between 60,000 and 75,000 sales. Nothing Personal debuted at No. 4 on the Billboard chart and sold 63,000 copies, making it the band's highest charting album to date
They played Fall Out Boy's Believers Never Die Tour Part Deux Tour in spring 2009, with Metro Station, Cobra Starship, and Hey Monday. All Time Low also announced tours in both Australia and Japan in June 2009 with Set Your Goals. The band also did a ten date tour with We the Kings, Cartel and Days Difference. They headlined Warped Tour 2009 from July 19 through the end of the tour, and then played at Voodoo Experience 2009, which was headlined by Eminem, Kiss and The Flaming Lips.
All Time Low completed a European tour in the Fall of 2009, with support from The Audition and The Friday Night Boys. All Time Low also headlined the first The Glamour Kills Tour with We The Kings, Hey Monday, and The Friday Night Boys. It began October 15, 2009, and ran through December 6, 2009.
All Time Low announced in November 2009 that they had been signed to major label Interscope Records. One month later, the band won the "Best Pop Punk Band" at the Top In Rock Awards.
In May 2010, All Time Low released their first live album, entitled Straight to DVD. The CD/DVD was a recording of a show in New York.
All Time Low returned to Ireland & The UK in January and February 2010 as they headlined the Kerrang! Relentless Tour 2010 With The Blackout, My Passion and Young Guns. They played a few mainland Europe shows immediately afterward, mostly in countries they had never been before. All Time Low returned to Australia in February and March to play at Soundwave festival. All Time Low co-headlined The Bamboozle Roadshow 2010 between May and June, with Boys Like Girls, Third Eye Blind, and LMFAO, along with numerous supporting bands including Good Charlotte, Forever The Sickest Kids, Cartel, and Simple Plan. All Time Low played the Reading and Leeds Festival 2010 in the UK over the August Bank Holiday. All Time Low headlined the My Small Package Tour in fall 2010, with supporting acts A Rocket to the Moon and City (Comma) State. Halfway during the tour, Before You Exit became a supporting act. On October 24, Storm The Beaches opened on the Baltimore date of the tour.
On March 15, 2010, All Time Low released the song "Painting Flowers" for the album Almost Alice, the soundtrack for the fantasy-adventure film Alice in Wonderland. They then began writing for their fourth studio album, which would also be their major label debut.
2011–2013: Dirty Work and Don't Panic
Demos for the band's album leaked to the web in August 2010. The band later confirmed in an interview which tracks would be on the upcoming album. All Time Low released their fourth studio album almost a year later, titled Dirty Work, in June 2011, after being pushed back from a March release date. The album is currently All Time Low's highest-selling album to date overseas. It earned the album a peak position of No. 13 in Australia and Canada and No. 20 in the UK.
In spring of 2011, All Time Low embarked on the Dirty Work Tour even though the album was not yet released, supported by Yellowcard, Hey Monday, and The Summer Set. They were joined by Yellowcard and Young Guns on their UK tour shortly after. All Time Low concluded their summer 2011 tour, "Gimme Summer Ya Love Tour", with opening acts Mayday Parade, We Are The In Crowd, The Starting Line, Brighter, and The Cab. In September 2011, the band was scheduled to play at Soundwave Revolution in Australia, but the festival was cancelled. All Time Low co-headlined a mini-festival tour, Counter Revolution, in its place. The band finished their fall 2011 tour, "The Rise and Fall Of My Pants Tour" with The Ready Set, He Is We, and Paradise Fears. In Canada, the group toured with Simple Plan, Marianas Trench, and These Kids Wear Crowns.
The band returned to the UK on January 12, 2012. supported by The Maine and We Are The In Crowd and toured until February 4. Several of these dates sold out, so more dates were added. All Time Low also played the Warped Tour (June–August 2012) and the Reading and Leeds Festival (August 2012).
In May 2012, All Time Low left their label Interscope Records and released a new song titled "The Reckless and the Brave" on June 1 via their website as a free download. The band announced that they had been working on a new studio album, due for release sometime in 2012. On July 3, All Time Low announced that they had signed to Hopeless Records again and that the new album would be released in the second half of 2012. On August 10 they announced that their new album, titled Don't Panic would be released October 9 through Hopeless Records. On August 24, a new song titled "For Baltimore" was released through Alternative Press. "Somewhere in Neverland" was released next, peaking in the top 50 on the US iTunes charts.
After the completion of the 2012 Warped Tour, the band announced a "Rockshow at the End of the World" headlining tour with The Summer Set, The Downtown Fiction and Hit The Lights. They headlined in Dublin, Ireland on August 20, Aberdeen, Scotland on August 22 and in Edinburgh, Scotland on August 23, 2012. They then played a series of shows around Europe including supporting Green Day in Germany. All Time Low were announced on Soundwave's 2013 lineup for Australia.
On September 27, All Time Low released the song "Outlines", featuring Jason Vena from the band Acceptance via MTV. On October 2, a week before its release, Hopeless Records' YouTube channel posted the entire Don't Panic album as a stream, with lyrics for all the songs.
In September 2013, the band re-released their album as Don't Panic: It's Longer Now!. It featured four newly recorded songs and four additional acoustic remixes as well as the original material. The lead single, A Love Like War featuring Vic Fuentes of Pierce the Veil was released on September 2. Starting on September 23, All Time Low toured with Pierce the Veil as a supporting act of A Day To Remember's House Party Tour.
2014–2016: Future Hearts
On March 8, 2014, All Time Low toured the UK as part of their "A Love Like War: UK Tour" before moving on to the states on March 28 for the remaining part of the tour. The music video for their song "The Irony of Choking on a Lifesaver" used clips from that tour and premiered on Kerrang! on May 14.
Their next album would be recorded with producer John Feldman. The album, Future Hearts, was announced with the first single, "Something's Gotta Give", premiering on Radio One on January 11, 2015. The second single, "Kids In The Dark", was released on March 9, 2015. The band played Soundwave 2015 in Australia and headlined sideshows.
They headlined a spring US 2015 tour for the album with support from Issues, Tonight Alive and State Champs, and co-headlining a UK tour with You Me At Six. Future Hearts debuted at No. 2 on the Billboard 200, selling 75,000 copies in its first week, becoming the band's highest charting and biggest selling week ever. It also topped the UK Albums Chart with almost 20,000 first week sales.
In July 2015, the band won four awards at the 2015 Alternative Press Music Awards.
The band has since toured and released music videos, including one for "Runaways" in August 2015. On September 1, 2016, the band leaked a new song titled "Take Cover", which was later officially released with a music video the next day as a bonus track for their live album, "Straight to DVD II: Past, Present, and Future Hearts". Members of the band also appeared for surprise DJ sets at Emo Nite in Los Angeles in 2015.
2017–2019: Last Young Renegade
In mid-February 2017, the band announced a new song to be premiered on BBC Radio 1 Breakfast Show with Nick Grimshaw, called "Dirty Laundry". The music video was directed by Pat Tracy, who had also directed the music video for "Missing You". This was the first release after changing record labels from Hopeless Records to Fueled by Ramen. Both songs are singles from their album, Last Young Renegade, which was released on June 2, 2017. The band also released their cover of "Longview" by Green Day for the documentary "Green Day: The Early Years". On March 1, 2018, it was announced All Time Low would play three dates of the 2018 Vans Warped Tour. On June 12, 2018, the band released a song called "Everything Is Fine." The song's teasing featured the band members posting the song's title to social media repeatedly a day before it was released. On June 29, 2018, the band released a song called "Birthday." A live-in-the-studio re-recording of Nothing Personal was released on November 8, 2019.
On 29 May 2019, All Time Low performed at Australian band 5 Seconds of Summer's Friends of Friends sold-out benefit concert, held in Venice, California. All proceeds from the event were donated to the Safe Place for Youth project, a housing and support service for homeless youth in Los Angeles.
2020–present: Wake Up, Sunshine
On January 1, 2020, the band released a video indicating the Last Young Renegade era had come to an end with a person in a panda suit burning their renegade jerseys, hinting their new album was coming.
Later that same month on January 21, 2020, the band released the song "Some Kind of Disaster".
On February 17, 2020, the band announced their new album, titled Wake Up, Sunshine, and would be released on April 3, 2020. The album featured 15 tracks and collaborations with rapper Blackbear and The Band Camino.
On February 24, 2020, it was announced that All Time Low would be opening acts for Australian band, 5 Seconds of Summer for the European arena concert dates on their No Shame Tour. Initially set to take place between 26 May 2020 to 16 June 2020, the European leg of the tour was postponed due to the ongoing COVID-19 pandemic. The European shows are now set to begin on 20 April 2021 at the Palais 12 Arena in Brussels, Belgium with All Time Low being the opening act for thirteen shows.
On December 4, 2020, the band's song "Monsters" was re-released, featuring vocals from singer Demi Lovato.
On March 24, 2021, the band released the single "Once In a Lifetime".
On July 30, 2021, the band released a single "PMA" (Postmodern Anxiety) featuring Pale Waves.
Online allegations
In early October 2021, a TikTok video surfaced that accused an unnamed pop-punk band of inviting a 13-year-old onto its tour bus, claiming in the comments section that they "tried to take my bra off" with additional indications that it was All Time Low. A Twitter thread was later released anonymously detailing allegations against Jack Barakat. The band released a statement calling the allegations "completely and utterly false" and said they would pursue legal action. Meet Me at the Altar and Nothing,Nowhere dropped out of the band's Autumn tour and announced joint dates for shows in the wake of the allegations. The band sued three anonymous accounts for libel in February 2022, claiming they were "the victims of defamatory social media posts falsely and maliciously accusing them of sexual abuse and knowingly enabling such illegal conduct."
Musical style and influences
All Time Low's musical style has generally been described as pop punk, pop rock, power pop, emo pop, emo, and alternative rock. All Time Low cites bands such as Blink-182, Green Day, MxPx, New Found Glory, Saves the Day, and The Get Up Kids as influences.
Band members
Current members
Alex Gaskarth – lead vocals, rhythm guitar (2003–present)
Jack Barakat – lead guitar, backing vocals (2003–present); rhythm guitar (2003)
Rian Dawson – drums, percussion (2003–present)
Zack Merrick – bass guitar, backing vocals (2003–present)
Former members
Chris Cortilello – bass guitar (2003)
TJ Ihle – lead guitar, backing vocals (2003)
Touring members
Dan Swank – rhythm guitar, keyboards, backing vocals, percussion (2020–present)
Bryan Donahue – rhythm guitar, backing vocals (2013–2020)
Matt Colussy – rhythm guitar (2011–2013)
Matt Flyzik – backing vocals (2006–2013)
Timeline
Discography
Studio albums
The Party Scene (2005)
So Wrong, It's Right (2007)
Nothing Personal (2009)
Dirty Work (2011)
Don't Panic (2012)
Future Hearts (2015)
Last Young Renegade (2017)
Wake Up, Sunshine (2020)
Tours
Headlining
Manwhores and Open Sores Tour (2008)
AP Tour 2008 (2008)
Shortest Tour Ever (2008)
The Compromising of Integrity, Morality and Principles in Exchange for Money Tour (2008)
The Glamour Kills Tour (2009)
A Love Like War (2014)
Opening acts
Fall Out Boy – Believers Never Die Tour Part Deux Tour (2009)
5 Seconds of Summer – No Shame Tour (European shows only) (April 2021)
Awards and nominations
References
External links
Pop punk groups from Maryland
American pop rock music groups
American power pop groups
American emo musical groups
Interscope Records artists
Kerrang! Awards winners
Musical groups established in 2003
Musical groups from Baltimore
Rock music groups from Maryland
Musical quartets
People from Towson, Maryland
Hopeless Records artists
| true |
[
"A locomotive or engine change is a location where a locomotive is exchanged for another locomotive.\n\nHistory\nFor as long as there have been railroads, locomotive changes have been essential to the officials of the railroads, so that a locomotive could be exchanged for the rest of the trip to the next locomotive changing facility or the destination of the train. Without these facilities, locomotives will suffer from wear and tear or in the era of the steam locomotive, the locomotive will also suffer a lack of fuel and water. Many of the original locations where steam was exchanged for another steam locomotive for the remainder of the trip have been closed since diesel locomotives replaced steam locomotives on the point of both freight and passenger trains.\n\nIn some cases, an electric locomotive would be replaced by a steam or diesel locomotive for the remainder of the trip. For example, the Pennsylvania Railroad, New York Central Railroad and the New York, New Haven and Hartford Railroad had locations where electric locomotives were exchanged for steam or diesel locomotives.\n\nNotable locations\nThere are many locations where locomotives were exchanged for another locomotive. Some are still in use today, while others are gone.\nSouth Amboy, New Jersey\nBefore electrification to Long Branch, New Jersey in the 80s, diesels for the Pennsylvania Railroad (steam as well), Penn Central, Conrail and New Jersey Transit were exchanged for electrics, for the trip to Penn Station in New York City.\nBellefontaine, Ohio\nThe New York Central exchanged locomotives on all trains where two main lines crossed each other.\nManhattan Transfer (PRR) station: Where Pennsylvania Railroad DD1 third rail electrics were exchanged or replaced steam locomotives on trains.\nEnola Yard\nA Pennsylvania Railroad yard where prior to the 1980s, Conrail, Penn Central and Pennsylvania Railroad electric locomotives replaced or cut off to allow diesel or steam locomotives to take over. There are many more locations where locomotives were exchanged for another.\n\nToday\n\nToday, locomotive changes are still used, although not as much as in yesteryear. But, there are still locations such as at Harrisburg Transportation Center where Amtrak electrics are replaced by diesels. Other very busy stations where such changes take place include Philadelphia's 30th Street Station, Washington, D.C.'s Union Station, New Haven's Union Station, and Albany-Rensselaer (In the past, locomotives were changed at Croton-Harmon, but today it is only the end of electrification, much of which Amtrak does not use.).\n\nReferences \n\nRail transport operations",
"Roladin or Roladin Bakery & Café () is the largest bakery chain in Israel, with 78 locations around Israel.\n\nHistory\nThe concept for Roladin was created in 1987 by two brothers Kobi and Avi Hakak. Homemade cakes were sold from door to door, since they had no physical location.\n\nIn 1989 they opened a their first retail shop in Ramat HaSharon. Menashe Hakak, the two brothers’ father, built the counters and the shelves for the store himself. The recipes for the baked goods were from various sources including their sister-in-law, aunt and neighbors. As the business expanded, Kobi ran the business, and Avi led new products after completing advanced confectionery courses in France and Belgium. Their brother Dudi manages overseas the different locations.\n\nAs of August 2014 Roladin had 43 locations around Israel. Some still owned by the Hakak family, while others are franchised. They have expanded considerably in the past few years, growing from 15 branches in 2005. In 2011, Roladin announced plans to add 30 suburban locations by the end of 2013.\n\nThe bakery facility is located in Kadima in the Sharon area.\n\nOther ventures\nIn addition to the cafes, Roladin also provides food to El Al Airlines.\n\nRoladin also sells packaged goods through a partnership with Tnuva.\n\nHolidays\n\nThe Jewish holidays are some of the busiest times for Roladin. Some well known specialty products include:\n\nChanukah – Roladin most years wins the competition between Israeli bakeries for the best Sufganiyah. Chanukah is also Roladin's busiest time of the year.\nPurim – Roladin, similar to the Sufganiyah, are usually ranked high in competitions for the best Hamantash.\nPassover – During Passover, Roladin offers a wide selection of Passover desserts\nRosh HaShana – In honor of the Jewish new year, Roladin offers a wide variety of honey cakes.\nTu Bishvat – For Tu Bishvat, Roladin carries a wide selection of dried fruit and nuts.\nShavuot – During Shavuot, Roladin offers a wide range of dairy desserts including cheesecake.\n\nSee also\n Israeli cuisine\n List of restaurants in Israel\n\nReferences \n\nBakeries of Israel\nRestaurant chains in Israel\n1989 establishments in Israel"
] |
[
"All Time Low",
"2011: Dirty Work",
"Was this an album?",
"All Time Low released their fourth studio album almost a year later, titled Dirty Work,",
"Which year was it released?",
"in June 2011,",
"What was done before the album was released?",
"In March 15, 2010, All Time Low released the song \"Painting Flowers\"",
"Which album was this song on?",
"album Almost Alice,",
"Did this album chart on the billboard or others?",
"Dirty Work, in June 2011, after being pushed back from a March release date. The album is currently All Time Low's highest-selling album to date overseas.",
"Did they tour?",
"In spring of 2011, All Time Low embarked on the Dirty Work Tour even though the album was not yet released,",
"What were some of the locations for this one or others?",
"UK tour"
] |
C_0fd9a62a282441e1873e80a5a9ce7595_0
|
Where there any in the US? or outside UK
| 8 |
Where there any tours by all Time Low in the US? or outside UK
|
All Time Low
|
All Time Low returned to Ireland & The UK in January and February 2010 as they headlined the Kerrang! Relentless Tour 2010 With The Blackout, My Passion and Young Guns. They played a few mainland Europe shows immediately afterward, mostly in countries they had never been before. All Time Low returned to Australia in February and March to play at Soundwave festival. All Time Low co-headlined The Bamboozle Roadshow 2010 between May and June, with Boys Like Girls, Third Eye Blind, and LMFAO, along with numerous supporting bands including Good Charlotte, Forever The Sickest Kids, Cartel, and Simple Plan. All Time Low played the Reading and Leeds Festival 2010 in the UK over the August Bank Holiday. All Time Low headlined the My Small Package Tour in fall 2010, with supporting acts A Rocket to the Moon and City (Comma) State. Halfway during the tour, Before You Exit became a supporting act. On October 24, Storm The Beaches opened on the Baltimore date of the tour. In March 15, 2010, All Time Low released the song "Painting Flowers" for the album Almost Alice, the soundtrack for the fantasy-adventure film Alice in Wonderland. They then began writing for their fourth studio album, which would also be their major label debut. Demos for the band's album leaked to the web in August 2010. The band later confirmed in an interview which tracks would be on the upcoming album. All Time Low released their fourth studio album almost a year later, titled Dirty Work, in June 2011, after being pushed back from a March release date. The album is currently All Time Low's highest-selling album to date overseas. It earned the album a peak position of No. 13 in Australia and Canada and No. 20 in the UK. In spring of 2011, All Time Low embarked on the Dirty Work Tour even though the album was not yet released, supported by Yellowcard, Hey Monday, and The Summer Set. They were joined by Yellowcard and Young Guns on their UK tour shortly after. All Time Low concluded their summer 2011 tour, "Gimme Summer Ya Love Tour", with opening acts Mayday Parade, We Are The In Crowd, The Starting Line, Brighter, and The Cab. In September 2011, the band was scheduled to play at Soundwave Revolution in Australia, but the festival was cancelled. All Time Low co-headlined a mini-festival tour, Counter Revolution, in its place. The band finished their fall 2011 tour, "The Rise and Fall Of My Pants Tour" with The Ready Set, He Is We, and Paradise Fears. In Canada, the group toured with Simple Plan, Marianas Trench, and These Kids Wear Crowns. CANNOTANSWER
|
In Canada, the group toured with Simple Plan, Marianas Trench, and These Kids Wear Crowns.
|
All Time Low is an American rock band from Towson, Maryland formed in 2003. Consisting of lead vocalist/rhythm guitarist Alex Gaskarth, lead guitarist Jack Barakat, bassist/backing vocalist Zack Merrick, and drummer Rian Dawson, the band took its name from lyrics in the song "Head on Collision" by New Found Glory. The band has consistently done year-long tours, has headlined numerous tours, and has appeared at music festivals including Warped Tour, Reading and Leeds, and Soundwave.
Beginning as a band in high school, All Time Low released their debut EP, The Three Words to Remember in Dealing with the End EP, in 2004 through local label Emerald Moon. Since then the band has released eight studio albums: The Party Scene (2005), So Wrong, It's Right (2007), Nothing Personal (2009), Dirty Work (2011), Don't Panic (2012), Future Hearts (2015), Last Young Renegade (2017), and Wake Up, Sunshine (2020). They released their first live album, Straight to DVD, in 2010, and released their second live album, Straight to DVD II: Past, Present and Future Hearts, on September 9, 2016.
History
2003–2006: Formation and The Party Scene
Formed while still in high school in 2003, All Time Low began covering songs by pop punk bands such as Blink-182. The band's line-up included Alex Gaskarth on vocals, Jack Barakat on guitar, TJ Ihle on lead guitar and backing vocals, Chris Cortilello on bass, and Rian Dawson on drums. Cortilello and Ihle left the band, resulting in the band laying dormant until Zack Merrick joined on bass and Gaskarth picked up guitar. They released a four-song EP in November before signing to Emerald Moon Records in 2004. They released their second EP, titled The Three Words to Remember in Dealing with the End EP later that same year. The band released their debut studio album, The Party Scene, in July 2005.
In December, it was announced that the band was no longer signed, but were attracting attention from a number of record labels. In late 2006, the band performed a showcase for John Janick the founder of record label Fueled by Ramen. They were not signed because Cute Is What We Aim For had recently been taken on by the label, which was not in a position to sign another band at the time. The band was brought to the attention of Hopeless Records by fellow touring band Amber Pacific; on March 28, 2006, it was announced that All Time Low had signed with Hopeless. The band said in an interview that they were starting to get serious about music while in their senior year of high school; following their graduation, the members focused on the group full-time, and released the Put Up or Shut Up EP in July. The EP entered the Independent Albums chart at No. 20 and the Top Heatseekers at No. 12.
All Time Low began a busy tour in support of the EP in late 2006. After the tour, the band began writing material for their second studio album.
2007–2008: So Wrong, It's Right
In the summer of 2007, All Time Low played the Vans Warped Tour on the Smartpunk Stage. They made their live debut in the UK in late 2007 supporting Plain White T's.
All Time Low released their second studio album So Wrong, It's Right in September 2007. It peaked at No. 62 on the Billboard 200 and No. 6 on the Independent Albums chart. The second single from the album, "Dear Maria, Count Me In", which was written about a stripper, became the band's first single to reach the charts and peaked at No. 86 on the Pop 100. In 2011, the single was certified Gold for 500,000 shipments.
In early 2008 the band completed their first headlining tour, the Manwhores and Open Sores Tour with opening acts Every Avenue, Mayday Parade, and Just Surrender.
Following the release of So Wrong, It's Right, All Time Low quickly gained popularity, eventually making their TRL debut on February 12, 2008. They have also been featured on MTV's Discover and Download and Music Choice's Fresh Crops, and have been added to both MTV's Big Ten and MTV Hits playlists. On March 7, 2008, the band made their live television debut on Jimmy Kimmel Live! and then performed live at the mtvU Woodie Awards.
From March 2008 to May 2008, they co-headlined the AP Tour 2008 with The Rocket Summer; supported by acts such as The Matches, Sonny Moore, and Forever the Sickest Kids. In May 2008 they played at the Give It a Name Festival. Also in May 2008, they co-headlined a UK tour with Cobra Starship. In July 2008, the band headlined the Shortest Tour Ever with supporting acts Hit the Lights, Valencia, and There for Tomorrow. From mid-July to mid-August they played the 2008 Vans Warped Tour. They ended 2008 with their headlining tour, The Compromising of Integrity, Morality and Principles in Exchange for Money Tour with Mayday Parade, The Maine, and Every Avenue.
In December 2008, All Time Low was named "Band of the Year" by Alternative Press magazine and featured on the cover of their January 2009 issue.
2009–2010: Nothing Personal
In early 2009, All Time Low confirmed in an interview with UK magazine Rock Sound that they had begun writing new material for a third studio album and revealed they had collaborated with artists and producers to help co-write a number of songs.
Although still in the writing process, All Time Low began recording for their new album in January 2009, they finished recording only a month later. The album's lead single "Weightless" was released in March 2009 and became the band's first song to achieve some radio play worldwide. The song was included during the band's appearance at major concert venues, such as Bambooozle in May 2009, to promote the new album.
All Time Low released their third studio album Nothing Personal in July 2009. Before its official release, the full album was made available for streaming download one week earlier through MTV's The Leak.
Billboard magazine predicted that the album "looked like it could" enter the top ten of the Billboard 200 in its debut week, with anywhere between 60,000 and 75,000 sales. Nothing Personal debuted at No. 4 on the Billboard chart and sold 63,000 copies, making it the band's highest charting album to date
They played Fall Out Boy's Believers Never Die Tour Part Deux Tour in spring 2009, with Metro Station, Cobra Starship, and Hey Monday. All Time Low also announced tours in both Australia and Japan in June 2009 with Set Your Goals. The band also did a ten date tour with We the Kings, Cartel and Days Difference. They headlined Warped Tour 2009 from July 19 through the end of the tour, and then played at Voodoo Experience 2009, which was headlined by Eminem, Kiss and The Flaming Lips.
All Time Low completed a European tour in the Fall of 2009, with support from The Audition and The Friday Night Boys. All Time Low also headlined the first The Glamour Kills Tour with We The Kings, Hey Monday, and The Friday Night Boys. It began October 15, 2009, and ran through December 6, 2009.
All Time Low announced in November 2009 that they had been signed to major label Interscope Records. One month later, the band won the "Best Pop Punk Band" at the Top In Rock Awards.
In May 2010, All Time Low released their first live album, entitled Straight to DVD. The CD/DVD was a recording of a show in New York.
All Time Low returned to Ireland & The UK in January and February 2010 as they headlined the Kerrang! Relentless Tour 2010 With The Blackout, My Passion and Young Guns. They played a few mainland Europe shows immediately afterward, mostly in countries they had never been before. All Time Low returned to Australia in February and March to play at Soundwave festival. All Time Low co-headlined The Bamboozle Roadshow 2010 between May and June, with Boys Like Girls, Third Eye Blind, and LMFAO, along with numerous supporting bands including Good Charlotte, Forever The Sickest Kids, Cartel, and Simple Plan. All Time Low played the Reading and Leeds Festival 2010 in the UK over the August Bank Holiday. All Time Low headlined the My Small Package Tour in fall 2010, with supporting acts A Rocket to the Moon and City (Comma) State. Halfway during the tour, Before You Exit became a supporting act. On October 24, Storm The Beaches opened on the Baltimore date of the tour.
On March 15, 2010, All Time Low released the song "Painting Flowers" for the album Almost Alice, the soundtrack for the fantasy-adventure film Alice in Wonderland. They then began writing for their fourth studio album, which would also be their major label debut.
2011–2013: Dirty Work and Don't Panic
Demos for the band's album leaked to the web in August 2010. The band later confirmed in an interview which tracks would be on the upcoming album. All Time Low released their fourth studio album almost a year later, titled Dirty Work, in June 2011, after being pushed back from a March release date. The album is currently All Time Low's highest-selling album to date overseas. It earned the album a peak position of No. 13 in Australia and Canada and No. 20 in the UK.
In spring of 2011, All Time Low embarked on the Dirty Work Tour even though the album was not yet released, supported by Yellowcard, Hey Monday, and The Summer Set. They were joined by Yellowcard and Young Guns on their UK tour shortly after. All Time Low concluded their summer 2011 tour, "Gimme Summer Ya Love Tour", with opening acts Mayday Parade, We Are The In Crowd, The Starting Line, Brighter, and The Cab. In September 2011, the band was scheduled to play at Soundwave Revolution in Australia, but the festival was cancelled. All Time Low co-headlined a mini-festival tour, Counter Revolution, in its place. The band finished their fall 2011 tour, "The Rise and Fall Of My Pants Tour" with The Ready Set, He Is We, and Paradise Fears. In Canada, the group toured with Simple Plan, Marianas Trench, and These Kids Wear Crowns.
The band returned to the UK on January 12, 2012. supported by The Maine and We Are The In Crowd and toured until February 4. Several of these dates sold out, so more dates were added. All Time Low also played the Warped Tour (June–August 2012) and the Reading and Leeds Festival (August 2012).
In May 2012, All Time Low left their label Interscope Records and released a new song titled "The Reckless and the Brave" on June 1 via their website as a free download. The band announced that they had been working on a new studio album, due for release sometime in 2012. On July 3, All Time Low announced that they had signed to Hopeless Records again and that the new album would be released in the second half of 2012. On August 10 they announced that their new album, titled Don't Panic would be released October 9 through Hopeless Records. On August 24, a new song titled "For Baltimore" was released through Alternative Press. "Somewhere in Neverland" was released next, peaking in the top 50 on the US iTunes charts.
After the completion of the 2012 Warped Tour, the band announced a "Rockshow at the End of the World" headlining tour with The Summer Set, The Downtown Fiction and Hit The Lights. They headlined in Dublin, Ireland on August 20, Aberdeen, Scotland on August 22 and in Edinburgh, Scotland on August 23, 2012. They then played a series of shows around Europe including supporting Green Day in Germany. All Time Low were announced on Soundwave's 2013 lineup for Australia.
On September 27, All Time Low released the song "Outlines", featuring Jason Vena from the band Acceptance via MTV. On October 2, a week before its release, Hopeless Records' YouTube channel posted the entire Don't Panic album as a stream, with lyrics for all the songs.
In September 2013, the band re-released their album as Don't Panic: It's Longer Now!. It featured four newly recorded songs and four additional acoustic remixes as well as the original material. The lead single, A Love Like War featuring Vic Fuentes of Pierce the Veil was released on September 2. Starting on September 23, All Time Low toured with Pierce the Veil as a supporting act of A Day To Remember's House Party Tour.
2014–2016: Future Hearts
On March 8, 2014, All Time Low toured the UK as part of their "A Love Like War: UK Tour" before moving on to the states on March 28 for the remaining part of the tour. The music video for their song "The Irony of Choking on a Lifesaver" used clips from that tour and premiered on Kerrang! on May 14.
Their next album would be recorded with producer John Feldman. The album, Future Hearts, was announced with the first single, "Something's Gotta Give", premiering on Radio One on January 11, 2015. The second single, "Kids In The Dark", was released on March 9, 2015. The band played Soundwave 2015 in Australia and headlined sideshows.
They headlined a spring US 2015 tour for the album with support from Issues, Tonight Alive and State Champs, and co-headlining a UK tour with You Me At Six. Future Hearts debuted at No. 2 on the Billboard 200, selling 75,000 copies in its first week, becoming the band's highest charting and biggest selling week ever. It also topped the UK Albums Chart with almost 20,000 first week sales.
In July 2015, the band won four awards at the 2015 Alternative Press Music Awards.
The band has since toured and released music videos, including one for "Runaways" in August 2015. On September 1, 2016, the band leaked a new song titled "Take Cover", which was later officially released with a music video the next day as a bonus track for their live album, "Straight to DVD II: Past, Present, and Future Hearts". Members of the band also appeared for surprise DJ sets at Emo Nite in Los Angeles in 2015.
2017–2019: Last Young Renegade
In mid-February 2017, the band announced a new song to be premiered on BBC Radio 1 Breakfast Show with Nick Grimshaw, called "Dirty Laundry". The music video was directed by Pat Tracy, who had also directed the music video for "Missing You". This was the first release after changing record labels from Hopeless Records to Fueled by Ramen. Both songs are singles from their album, Last Young Renegade, which was released on June 2, 2017. The band also released their cover of "Longview" by Green Day for the documentary "Green Day: The Early Years". On March 1, 2018, it was announced All Time Low would play three dates of the 2018 Vans Warped Tour. On June 12, 2018, the band released a song called "Everything Is Fine." The song's teasing featured the band members posting the song's title to social media repeatedly a day before it was released. On June 29, 2018, the band released a song called "Birthday." A live-in-the-studio re-recording of Nothing Personal was released on November 8, 2019.
On 29 May 2019, All Time Low performed at Australian band 5 Seconds of Summer's Friends of Friends sold-out benefit concert, held in Venice, California. All proceeds from the event were donated to the Safe Place for Youth project, a housing and support service for homeless youth in Los Angeles.
2020–present: Wake Up, Sunshine
On January 1, 2020, the band released a video indicating the Last Young Renegade era had come to an end with a person in a panda suit burning their renegade jerseys, hinting their new album was coming.
Later that same month on January 21, 2020, the band released the song "Some Kind of Disaster".
On February 17, 2020, the band announced their new album, titled Wake Up, Sunshine, and would be released on April 3, 2020. The album featured 15 tracks and collaborations with rapper Blackbear and The Band Camino.
On February 24, 2020, it was announced that All Time Low would be opening acts for Australian band, 5 Seconds of Summer for the European arena concert dates on their No Shame Tour. Initially set to take place between 26 May 2020 to 16 June 2020, the European leg of the tour was postponed due to the ongoing COVID-19 pandemic. The European shows are now set to begin on 20 April 2021 at the Palais 12 Arena in Brussels, Belgium with All Time Low being the opening act for thirteen shows.
On December 4, 2020, the band's song "Monsters" was re-released, featuring vocals from singer Demi Lovato.
On March 24, 2021, the band released the single "Once In a Lifetime".
On July 30, 2021, the band released a single "PMA" (Postmodern Anxiety) featuring Pale Waves.
Online allegations
In early October 2021, a TikTok video surfaced that accused an unnamed pop-punk band of inviting a 13-year-old onto its tour bus, claiming in the comments section that they "tried to take my bra off" with additional indications that it was All Time Low. A Twitter thread was later released anonymously detailing allegations against Jack Barakat. The band released a statement calling the allegations "completely and utterly false" and said they would pursue legal action. Meet Me at the Altar and Nothing,Nowhere dropped out of the band's Autumn tour and announced joint dates for shows in the wake of the allegations. The band sued three anonymous accounts for libel in February 2022, claiming they were "the victims of defamatory social media posts falsely and maliciously accusing them of sexual abuse and knowingly enabling such illegal conduct."
Musical style and influences
All Time Low's musical style has generally been described as pop punk, pop rock, power pop, emo pop, emo, and alternative rock. All Time Low cites bands such as Blink-182, Green Day, MxPx, New Found Glory, Saves the Day, and The Get Up Kids as influences.
Band members
Current members
Alex Gaskarth – lead vocals, rhythm guitar (2003–present)
Jack Barakat – lead guitar, backing vocals (2003–present); rhythm guitar (2003)
Rian Dawson – drums, percussion (2003–present)
Zack Merrick – bass guitar, backing vocals (2003–present)
Former members
Chris Cortilello – bass guitar (2003)
TJ Ihle – lead guitar, backing vocals (2003)
Touring members
Dan Swank – rhythm guitar, keyboards, backing vocals, percussion (2020–present)
Bryan Donahue – rhythm guitar, backing vocals (2013–2020)
Matt Colussy – rhythm guitar (2011–2013)
Matt Flyzik – backing vocals (2006–2013)
Timeline
Discography
Studio albums
The Party Scene (2005)
So Wrong, It's Right (2007)
Nothing Personal (2009)
Dirty Work (2011)
Don't Panic (2012)
Future Hearts (2015)
Last Young Renegade (2017)
Wake Up, Sunshine (2020)
Tours
Headlining
Manwhores and Open Sores Tour (2008)
AP Tour 2008 (2008)
Shortest Tour Ever (2008)
The Compromising of Integrity, Morality and Principles in Exchange for Money Tour (2008)
The Glamour Kills Tour (2009)
A Love Like War (2014)
Opening acts
Fall Out Boy – Believers Never Die Tour Part Deux Tour (2009)
5 Seconds of Summer – No Shame Tour (European shows only) (April 2021)
Awards and nominations
References
External links
Pop punk groups from Maryland
American pop rock music groups
American power pop groups
American emo musical groups
Interscope Records artists
Kerrang! Awards winners
Musical groups established in 2003
Musical groups from Baltimore
Rock music groups from Maryland
Musical quartets
People from Towson, Maryland
Hopeless Records artists
| true |
[
"The Continental Shelf Act 1964 (c. 29) is a UK Act of Parliament that governs the drilling for oil on the continental shelf around the British Isles. It extended the land regime to areas outside UK territorial waters, where international law recognised the UK right to the seabed, subsoil and natural resources.\n\nContents\nThe following is a summary of key provisions of the Act. \n\ns 1(1) ‘Any rights exercisable by the United Kingdom outside territorial waters with respect to the sea bed and subsoil and their natural resources, except so far as they are exercisable in relation to coal, are hereby vested in Her Majesty.’(3) key licensing provisions from the 1934 Act to the continental shelf (6) duty of SS for ‘effective and co-ordinated development of such resources’ in s 1(1) of Ministry of Fuel and Power Act 1945 extends to resources outside GB. (7) can make Orders. \ns 7, radioactive substances under Environmental Permitting (England and Wales) Regulations 2016 (S.I. 2016/1154) and PA 1998 s 11. \ns 8, submarine cables, if damaged, lead to punishment in the same way as under the Submarine Telegraph Act 1885 s 3. (1A) reference to sub-marine and cable pipe lines is defined in s 41(3) of the Marine and Coastal Access Act 2009 (exclusive economic zone).\ns 9 (repealed) contained a power of the Gas Board (then British Gas) to purchase at a reasonable price, all natural gas first. \ns 11(1) proceedings for offences can be taken in the UK (2) ‘Where a body corporate is guilty of such an offence and the offence is proved to have been committed with the consent or connivance of, or to be attributable to any neglect on the part of, any director, manager, secretary or other similar officer of the body corporate or any person who was purporting to act in any such capacity he, as well as the body corporate, shall be guilty of the offence and shall be liable to be proceeded against and punished accordingly. In this subsection, \"director\" in relation to a body corporate established for the purpose of carrying on under national ownership any industry or part of an industry or undertaking, being a body corporate whose affairs are managed by its members, means a member of that body corporate.’\n\nSee also\nUK enterprise law\nOil and gas in the UK\n\nNotes\n\nUnited Kingdom enterprise law\nUnited Kingdom Acts of Parliament 1964",
"The UK–US extradition treaty of 2003 was implemented by the UK in the Extradition Act 2003 and came into force in April 2007 following its ratification by the US Senate in 2006.\n\nControversy\nThe treaty has been claimed to be one-sided because it allows the US to demand extradition of British citizens and other nationals for offences committed against US law, even though the alleged offence may have been committed in the UK by a person living and working in the UK (see for example the NatWest Three), and there being no reciprocal right; and issues about the level of proof required to extradite from the UK to the US versus from the US to the UK.\n\nAmong other provisions Part 2 of the Act: Extradition to category 2 territories (non-European Arrest Warrant territories) removed the requirement on the US to provide prima facie evidence in extraditions from the UK, requiring instead only reasonable suspicion. This was necessary to redress the previous imbalance against the US under the 1870 Act, as the UK did not have to provide the more onerous prima facie evidence to extradite from the US. The requirement for the UK is to show probable cause. However, an independent legal review carried out by Sir Scott Baker found that \"there is no significant difference between the probable cause test and the reasonable suspicion test. There is no practical difference between the information submitted to and from the United States.\"\n\nThere is also concern at the loss of entitlement of British citizens to legal aid for maintaining an adequate defence to criminal charges once they are extradited to US jurisdiction where costs are largely met by the defendant's private means. This has been a cause of controversy in cases where it has been perceived that the UK has suitable legislation for prosecuting offences domestically.\n\nThe manner of its implementation also caused concern because of alleged secrecy and minimal parliamentary scrutiny.\n\nIn response to these concerns, the Home Secretary Theresa May appointed Lord Justice Scott Baker to conduct an official review of the UK's extradition treaties, with the assistance of two independent extradition experts. The review was directed to address evidence standards and whether the US–UK extradition treaty is unbalanced. Baker's report was presented to the Home Secretary on September 30, 2011, and concluded that there is no substantial difference in evidence standards, that the treaty is balanced and that there is not \"any basis to conclude that extradition from the United Kingdom to the US \noperates unfairly or oppressively\". The review contradicts the findings of Parliament's Joint Committee on Human Rights (JCHR), which was intended to form part of the Government's full extradition review and which called for the Government to renegotiate the UK's extradition treaty with the United States to ensure British citizens get the same protection as Americans.\n\nThe Home Affairs Select Committee published a report in 2012 into the UK–US extradition treaty and Extradition Act, acknowledging the low level of public confidence in the UK's extradition legislation. The Committee were particularly critical of the failure of the Home Office to publish the evidence that lies behind the Home Office-commissioned Scott Baker review – the only parliamentary review to conclude that the US/UK Treaty was not imbalanced. The Committee had \"serious misgivings\" about some aspects of the US/UK arrangements but was at pains to recognise the importance of an effective extradition arrangement between the two countries. With respect to the differing legal standards of evidence required in support of an extradition request, the Committee accepted that there was \"little or no distinction in practice between the 'probable cause' and 'reasonable suspicion' tests\". The Committee further acknowledged that \"extradition imposes a significant burden on the accused\". On the most controversial of issues – that of forum – that campaigners have long been seeking to have introduced in British legislation, the committee delivers perhaps its strongest message to parliament: \"The Committee believes that it would be in the interests of justice for decisions about forum in cases where there is concurrent jurisdiction to be taken by a judge in open court, where the defendant will have the opportunity to put his case, rather than in private by prosecutors\". The Committee concludes by recognising that it proposes significant amendments to the current legislation given the loss of public confidence in the current system. The Committee urges the government \"to act with greater urgency\" to rectify the issues the report has identified.\n\nMany say that the issue of forum is the key reform that will help bring an end to ongoing and future injustices that they say have occurred under the Extradition Act 2003.\n\nIn April 2012 it was revealed in a Freedom of Information request to the British Home Office that no US citizens have been extradited from the US to the UK under this treaty for crimes committed while the person was in the US.\n\nUS ratification, 2006\nThe US–UK Extradition Treaty 2003 was first sent to the US Senate for approval in April 2004. But another component of the controversy noted above was a result of the delay of the US in ratifying it into US law. Baroness Scotland, British Minister of State for the Criminal Justice System at the Home Office, travelled to the US on Thursday 13 July 2006 to address this problem. This move was prompted by political criticism of the Extradition Act 2003 within the UK and an opposition proposal to amend the Act in the House of Lords. It also coincided with public disquiet at the case of the NatWest Three who were extradited on the same date. This meant the NatWest three were extradited to the US under the US–UK Extradition Treaty 2003, even though that treaty had not been ratified in the US.\n\nOn 30 September 2006 the US Senate unanimously ratified the treaty. Home Secretary John Reid said he was \"delighted\" that Baroness Scotland's visit to the US over the summer succeeded in getting Senate agreement, saying \"The treaty is an important measure in our fight against serious international crime\".\n\nRatification had been slowed by complaints from some Irish-American groups that the treaty would create new legal jeopardy for Provisional IRA terrorists who fled to the US in the 1980s and their American supporters.\n\nUS cases where the treaty has been applied\nFrom January 2004 to the end of December 2011, seven known US citizens were extradited from the US to the UK. No US citizen was extradited for an alleged crime while the person was based in the US. The US embassy in London reports that, as of April 2013, 38 individuals have been extradited from the US to the UK.\n\nUK cases where the Act has been applied\nFrom January 2004 to the end of December 2011, 33 known British citizens (including 6 with dual nationality) were extradited from the UK to the US. The US embassy in London reported that as of April 2013, 77 individuals had been extradited from the UK to the US. The US argued that this is not disproportionate, due to the US population being about five times larger than the British population.\n\n Gary McKinnon – extradition blocked on 16 October 2012 by order of Home Secretary Theresa May, on the grounds that \"Mr McKinnon's extradition would give rise to such a high risk of him ending his life that a decision to extradite would be incompatible with Mr McKinnon's human rights.\"\n NatWest Three – extradited to Texas on fraud charges against a British bank while they were living in the UK and working for the British bank. Arriving in the US on 13 July 2006 they eventually pleaded guilty to wire fraud in a plea bargain.\n Babar Ahmad – extradited in 2012 on charges of running web sites supporting the Chechen and Afghan insurgencies while in the UK.\n Syed Talha Ahsan – extradited in 2012 on charges of running web sites supporting the Chechen and Afghan insurgencies while in the UK, co-defendant with Babar Ahmad\n Abu Hamza al-Masri – extradited to the US on 5 October 2012, among other things accused of conspiring with convicted American terrorist James Ujaama while in the UK.\n Alex Stone – alleged child abuse, charges subsequently dropped after 6 months in US jail. According to Mr. Stone \"there appeared to be no defence to extradition and no evidence at all was presented in this case\".\n Ian Norris of Morgan Crucible – alleged price fixing (while in the UK and price fixing was not a crime in the UK at the time). Extradition overturned by the House of Lords on appeal. Subsequent extradition request on obstruction of justice charges approved in July 2008, extradited March 2010.\n Wojciech Chodan and Jeffrey Tesler – face extradition over their alleged role in a Nigerian bribery scandal, but argue that almost none of the misconduct they are accused of was connected to the US and that the alleged bribery plot took place mainly in the UK or Nigeria.\n Richard O'Dwyer – extradition request made in May 2011. The extradition request follows the Southern District Court in New York bringing two charges against Richard O'Dwyer for criminal copyright infringement in relation to TVShack.net while in the UK. The two charges, conspiracy to commit copyright infringement and criminal infringement of copyright, each carry a maximum sentence of five years.\n Christopher Tappin – extradition request made in 2010. Accused of selling batteries to be used in Iranian surface-to-air missiles while in the UK. Mr Tappin says he was approached by US agents asking him to ship batteries from the US to the Netherlands who sent paperwork saying that permits were not required and then sought to have him arrested and extradited. A spokesman for Tappin's lawyers said \"This is a case in which the Customs agents caused the offence to be committed rather than merely providing an opportunity for the defendant to commit it.\" On 9 January 2013, Tappin was given a 33-month prison sentence for arms dealing and fined US$11,357 (£7,095).\n David McIntyre, an ex-soldier, was serving in Afghanistan when in July 2012 he was ordered to return to the UK after being accused of fraud following another man naming him in a plea bargain. He was extradited on 3 July 2014.\n\nReferences\n\nFurther reading\n Andrew Sanders, \"The 1985 Supplementary Extradition Treaty between the United States of America and the United Kingdom: an exercise in soft power\", Contemporary British History, vol. 33, no. 1 (2019), pp. 75–97.\n\nExternal links\nstatewatch.org – statewatch page on the Act\n\nExtradition treaties\nUnited Kingdom–United States treaties\nTreaties concluded in 2003\nTreaties entered into force in 2007\nUnited Kingdom\nUnited States\n2003 in the United Kingdom\n2003 in the United States"
] |
[
"All Time Low",
"2011: Dirty Work",
"Was this an album?",
"All Time Low released their fourth studio album almost a year later, titled Dirty Work,",
"Which year was it released?",
"in June 2011,",
"What was done before the album was released?",
"In March 15, 2010, All Time Low released the song \"Painting Flowers\"",
"Which album was this song on?",
"album Almost Alice,",
"Did this album chart on the billboard or others?",
"Dirty Work, in June 2011, after being pushed back from a March release date. The album is currently All Time Low's highest-selling album to date overseas.",
"Did they tour?",
"In spring of 2011, All Time Low embarked on the Dirty Work Tour even though the album was not yet released,",
"What were some of the locations for this one or others?",
"UK tour",
"Where there any in the US? or outside UK",
"In Canada, the group toured with Simple Plan, Marianas Trench, and These Kids Wear Crowns."
] |
C_0fd9a62a282441e1873e80a5a9ce7595_0
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Are there any other interesting aspects about this article?
| 9 |
Are there any other interesting aspects about this article, other than All Time Low's albums?
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All Time Low
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All Time Low returned to Ireland & The UK in January and February 2010 as they headlined the Kerrang! Relentless Tour 2010 With The Blackout, My Passion and Young Guns. They played a few mainland Europe shows immediately afterward, mostly in countries they had never been before. All Time Low returned to Australia in February and March to play at Soundwave festival. All Time Low co-headlined The Bamboozle Roadshow 2010 between May and June, with Boys Like Girls, Third Eye Blind, and LMFAO, along with numerous supporting bands including Good Charlotte, Forever The Sickest Kids, Cartel, and Simple Plan. All Time Low played the Reading and Leeds Festival 2010 in the UK over the August Bank Holiday. All Time Low headlined the My Small Package Tour in fall 2010, with supporting acts A Rocket to the Moon and City (Comma) State. Halfway during the tour, Before You Exit became a supporting act. On October 24, Storm The Beaches opened on the Baltimore date of the tour. In March 15, 2010, All Time Low released the song "Painting Flowers" for the album Almost Alice, the soundtrack for the fantasy-adventure film Alice in Wonderland. They then began writing for their fourth studio album, which would also be their major label debut. Demos for the band's album leaked to the web in August 2010. The band later confirmed in an interview which tracks would be on the upcoming album. All Time Low released their fourth studio album almost a year later, titled Dirty Work, in June 2011, after being pushed back from a March release date. The album is currently All Time Low's highest-selling album to date overseas. It earned the album a peak position of No. 13 in Australia and Canada and No. 20 in the UK. In spring of 2011, All Time Low embarked on the Dirty Work Tour even though the album was not yet released, supported by Yellowcard, Hey Monday, and The Summer Set. They were joined by Yellowcard and Young Guns on their UK tour shortly after. All Time Low concluded their summer 2011 tour, "Gimme Summer Ya Love Tour", with opening acts Mayday Parade, We Are The In Crowd, The Starting Line, Brighter, and The Cab. In September 2011, the band was scheduled to play at Soundwave Revolution in Australia, but the festival was cancelled. All Time Low co-headlined a mini-festival tour, Counter Revolution, in its place. The band finished their fall 2011 tour, "The Rise and Fall Of My Pants Tour" with The Ready Set, He Is We, and Paradise Fears. In Canada, the group toured with Simple Plan, Marianas Trench, and These Kids Wear Crowns. CANNOTANSWER
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All Time Low returned to Ireland & The UK in January and February 2010 as they headlined the Kerrang! Relentless Tour 2010 With The Blackout, My Passion and Young Guns.
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All Time Low is an American rock band from Towson, Maryland formed in 2003. Consisting of lead vocalist/rhythm guitarist Alex Gaskarth, lead guitarist Jack Barakat, bassist/backing vocalist Zack Merrick, and drummer Rian Dawson, the band took its name from lyrics in the song "Head on Collision" by New Found Glory. The band has consistently done year-long tours, has headlined numerous tours, and has appeared at music festivals including Warped Tour, Reading and Leeds, and Soundwave.
Beginning as a band in high school, All Time Low released their debut EP, The Three Words to Remember in Dealing with the End EP, in 2004 through local label Emerald Moon. Since then the band has released eight studio albums: The Party Scene (2005), So Wrong, It's Right (2007), Nothing Personal (2009), Dirty Work (2011), Don't Panic (2012), Future Hearts (2015), Last Young Renegade (2017), and Wake Up, Sunshine (2020). They released their first live album, Straight to DVD, in 2010, and released their second live album, Straight to DVD II: Past, Present and Future Hearts, on September 9, 2016.
History
2003–2006: Formation and The Party Scene
Formed while still in high school in 2003, All Time Low began covering songs by pop punk bands such as Blink-182. The band's line-up included Alex Gaskarth on vocals, Jack Barakat on guitar, TJ Ihle on lead guitar and backing vocals, Chris Cortilello on bass, and Rian Dawson on drums. Cortilello and Ihle left the band, resulting in the band laying dormant until Zack Merrick joined on bass and Gaskarth picked up guitar. They released a four-song EP in November before signing to Emerald Moon Records in 2004. They released their second EP, titled The Three Words to Remember in Dealing with the End EP later that same year. The band released their debut studio album, The Party Scene, in July 2005.
In December, it was announced that the band was no longer signed, but were attracting attention from a number of record labels. In late 2006, the band performed a showcase for John Janick the founder of record label Fueled by Ramen. They were not signed because Cute Is What We Aim For had recently been taken on by the label, which was not in a position to sign another band at the time. The band was brought to the attention of Hopeless Records by fellow touring band Amber Pacific; on March 28, 2006, it was announced that All Time Low had signed with Hopeless. The band said in an interview that they were starting to get serious about music while in their senior year of high school; following their graduation, the members focused on the group full-time, and released the Put Up or Shut Up EP in July. The EP entered the Independent Albums chart at No. 20 and the Top Heatseekers at No. 12.
All Time Low began a busy tour in support of the EP in late 2006. After the tour, the band began writing material for their second studio album.
2007–2008: So Wrong, It's Right
In the summer of 2007, All Time Low played the Vans Warped Tour on the Smartpunk Stage. They made their live debut in the UK in late 2007 supporting Plain White T's.
All Time Low released their second studio album So Wrong, It's Right in September 2007. It peaked at No. 62 on the Billboard 200 and No. 6 on the Independent Albums chart. The second single from the album, "Dear Maria, Count Me In", which was written about a stripper, became the band's first single to reach the charts and peaked at No. 86 on the Pop 100. In 2011, the single was certified Gold for 500,000 shipments.
In early 2008 the band completed their first headlining tour, the Manwhores and Open Sores Tour with opening acts Every Avenue, Mayday Parade, and Just Surrender.
Following the release of So Wrong, It's Right, All Time Low quickly gained popularity, eventually making their TRL debut on February 12, 2008. They have also been featured on MTV's Discover and Download and Music Choice's Fresh Crops, and have been added to both MTV's Big Ten and MTV Hits playlists. On March 7, 2008, the band made their live television debut on Jimmy Kimmel Live! and then performed live at the mtvU Woodie Awards.
From March 2008 to May 2008, they co-headlined the AP Tour 2008 with The Rocket Summer; supported by acts such as The Matches, Sonny Moore, and Forever the Sickest Kids. In May 2008 they played at the Give It a Name Festival. Also in May 2008, they co-headlined a UK tour with Cobra Starship. In July 2008, the band headlined the Shortest Tour Ever with supporting acts Hit the Lights, Valencia, and There for Tomorrow. From mid-July to mid-August they played the 2008 Vans Warped Tour. They ended 2008 with their headlining tour, The Compromising of Integrity, Morality and Principles in Exchange for Money Tour with Mayday Parade, The Maine, and Every Avenue.
In December 2008, All Time Low was named "Band of the Year" by Alternative Press magazine and featured on the cover of their January 2009 issue.
2009–2010: Nothing Personal
In early 2009, All Time Low confirmed in an interview with UK magazine Rock Sound that they had begun writing new material for a third studio album and revealed they had collaborated with artists and producers to help co-write a number of songs.
Although still in the writing process, All Time Low began recording for their new album in January 2009, they finished recording only a month later. The album's lead single "Weightless" was released in March 2009 and became the band's first song to achieve some radio play worldwide. The song was included during the band's appearance at major concert venues, such as Bambooozle in May 2009, to promote the new album.
All Time Low released their third studio album Nothing Personal in July 2009. Before its official release, the full album was made available for streaming download one week earlier through MTV's The Leak.
Billboard magazine predicted that the album "looked like it could" enter the top ten of the Billboard 200 in its debut week, with anywhere between 60,000 and 75,000 sales. Nothing Personal debuted at No. 4 on the Billboard chart and sold 63,000 copies, making it the band's highest charting album to date
They played Fall Out Boy's Believers Never Die Tour Part Deux Tour in spring 2009, with Metro Station, Cobra Starship, and Hey Monday. All Time Low also announced tours in both Australia and Japan in June 2009 with Set Your Goals. The band also did a ten date tour with We the Kings, Cartel and Days Difference. They headlined Warped Tour 2009 from July 19 through the end of the tour, and then played at Voodoo Experience 2009, which was headlined by Eminem, Kiss and The Flaming Lips.
All Time Low completed a European tour in the Fall of 2009, with support from The Audition and The Friday Night Boys. All Time Low also headlined the first The Glamour Kills Tour with We The Kings, Hey Monday, and The Friday Night Boys. It began October 15, 2009, and ran through December 6, 2009.
All Time Low announced in November 2009 that they had been signed to major label Interscope Records. One month later, the band won the "Best Pop Punk Band" at the Top In Rock Awards.
In May 2010, All Time Low released their first live album, entitled Straight to DVD. The CD/DVD was a recording of a show in New York.
All Time Low returned to Ireland & The UK in January and February 2010 as they headlined the Kerrang! Relentless Tour 2010 With The Blackout, My Passion and Young Guns. They played a few mainland Europe shows immediately afterward, mostly in countries they had never been before. All Time Low returned to Australia in February and March to play at Soundwave festival. All Time Low co-headlined The Bamboozle Roadshow 2010 between May and June, with Boys Like Girls, Third Eye Blind, and LMFAO, along with numerous supporting bands including Good Charlotte, Forever The Sickest Kids, Cartel, and Simple Plan. All Time Low played the Reading and Leeds Festival 2010 in the UK over the August Bank Holiday. All Time Low headlined the My Small Package Tour in fall 2010, with supporting acts A Rocket to the Moon and City (Comma) State. Halfway during the tour, Before You Exit became a supporting act. On October 24, Storm The Beaches opened on the Baltimore date of the tour.
On March 15, 2010, All Time Low released the song "Painting Flowers" for the album Almost Alice, the soundtrack for the fantasy-adventure film Alice in Wonderland. They then began writing for their fourth studio album, which would also be their major label debut.
2011–2013: Dirty Work and Don't Panic
Demos for the band's album leaked to the web in August 2010. The band later confirmed in an interview which tracks would be on the upcoming album. All Time Low released their fourth studio album almost a year later, titled Dirty Work, in June 2011, after being pushed back from a March release date. The album is currently All Time Low's highest-selling album to date overseas. It earned the album a peak position of No. 13 in Australia and Canada and No. 20 in the UK.
In spring of 2011, All Time Low embarked on the Dirty Work Tour even though the album was not yet released, supported by Yellowcard, Hey Monday, and The Summer Set. They were joined by Yellowcard and Young Guns on their UK tour shortly after. All Time Low concluded their summer 2011 tour, "Gimme Summer Ya Love Tour", with opening acts Mayday Parade, We Are The In Crowd, The Starting Line, Brighter, and The Cab. In September 2011, the band was scheduled to play at Soundwave Revolution in Australia, but the festival was cancelled. All Time Low co-headlined a mini-festival tour, Counter Revolution, in its place. The band finished their fall 2011 tour, "The Rise and Fall Of My Pants Tour" with The Ready Set, He Is We, and Paradise Fears. In Canada, the group toured with Simple Plan, Marianas Trench, and These Kids Wear Crowns.
The band returned to the UK on January 12, 2012. supported by The Maine and We Are The In Crowd and toured until February 4. Several of these dates sold out, so more dates were added. All Time Low also played the Warped Tour (June–August 2012) and the Reading and Leeds Festival (August 2012).
In May 2012, All Time Low left their label Interscope Records and released a new song titled "The Reckless and the Brave" on June 1 via their website as a free download. The band announced that they had been working on a new studio album, due for release sometime in 2012. On July 3, All Time Low announced that they had signed to Hopeless Records again and that the new album would be released in the second half of 2012. On August 10 they announced that their new album, titled Don't Panic would be released October 9 through Hopeless Records. On August 24, a new song titled "For Baltimore" was released through Alternative Press. "Somewhere in Neverland" was released next, peaking in the top 50 on the US iTunes charts.
After the completion of the 2012 Warped Tour, the band announced a "Rockshow at the End of the World" headlining tour with The Summer Set, The Downtown Fiction and Hit The Lights. They headlined in Dublin, Ireland on August 20, Aberdeen, Scotland on August 22 and in Edinburgh, Scotland on August 23, 2012. They then played a series of shows around Europe including supporting Green Day in Germany. All Time Low were announced on Soundwave's 2013 lineup for Australia.
On September 27, All Time Low released the song "Outlines", featuring Jason Vena from the band Acceptance via MTV. On October 2, a week before its release, Hopeless Records' YouTube channel posted the entire Don't Panic album as a stream, with lyrics for all the songs.
In September 2013, the band re-released their album as Don't Panic: It's Longer Now!. It featured four newly recorded songs and four additional acoustic remixes as well as the original material. The lead single, A Love Like War featuring Vic Fuentes of Pierce the Veil was released on September 2. Starting on September 23, All Time Low toured with Pierce the Veil as a supporting act of A Day To Remember's House Party Tour.
2014–2016: Future Hearts
On March 8, 2014, All Time Low toured the UK as part of their "A Love Like War: UK Tour" before moving on to the states on March 28 for the remaining part of the tour. The music video for their song "The Irony of Choking on a Lifesaver" used clips from that tour and premiered on Kerrang! on May 14.
Their next album would be recorded with producer John Feldman. The album, Future Hearts, was announced with the first single, "Something's Gotta Give", premiering on Radio One on January 11, 2015. The second single, "Kids In The Dark", was released on March 9, 2015. The band played Soundwave 2015 in Australia and headlined sideshows.
They headlined a spring US 2015 tour for the album with support from Issues, Tonight Alive and State Champs, and co-headlining a UK tour with You Me At Six. Future Hearts debuted at No. 2 on the Billboard 200, selling 75,000 copies in its first week, becoming the band's highest charting and biggest selling week ever. It also topped the UK Albums Chart with almost 20,000 first week sales.
In July 2015, the band won four awards at the 2015 Alternative Press Music Awards.
The band has since toured and released music videos, including one for "Runaways" in August 2015. On September 1, 2016, the band leaked a new song titled "Take Cover", which was later officially released with a music video the next day as a bonus track for their live album, "Straight to DVD II: Past, Present, and Future Hearts". Members of the band also appeared for surprise DJ sets at Emo Nite in Los Angeles in 2015.
2017–2019: Last Young Renegade
In mid-February 2017, the band announced a new song to be premiered on BBC Radio 1 Breakfast Show with Nick Grimshaw, called "Dirty Laundry". The music video was directed by Pat Tracy, who had also directed the music video for "Missing You". This was the first release after changing record labels from Hopeless Records to Fueled by Ramen. Both songs are singles from their album, Last Young Renegade, which was released on June 2, 2017. The band also released their cover of "Longview" by Green Day for the documentary "Green Day: The Early Years". On March 1, 2018, it was announced All Time Low would play three dates of the 2018 Vans Warped Tour. On June 12, 2018, the band released a song called "Everything Is Fine." The song's teasing featured the band members posting the song's title to social media repeatedly a day before it was released. On June 29, 2018, the band released a song called "Birthday." A live-in-the-studio re-recording of Nothing Personal was released on November 8, 2019.
On 29 May 2019, All Time Low performed at Australian band 5 Seconds of Summer's Friends of Friends sold-out benefit concert, held in Venice, California. All proceeds from the event were donated to the Safe Place for Youth project, a housing and support service for homeless youth in Los Angeles.
2020–present: Wake Up, Sunshine
On January 1, 2020, the band released a video indicating the Last Young Renegade era had come to an end with a person in a panda suit burning their renegade jerseys, hinting their new album was coming.
Later that same month on January 21, 2020, the band released the song "Some Kind of Disaster".
On February 17, 2020, the band announced their new album, titled Wake Up, Sunshine, and would be released on April 3, 2020. The album featured 15 tracks and collaborations with rapper Blackbear and The Band Camino.
On February 24, 2020, it was announced that All Time Low would be opening acts for Australian band, 5 Seconds of Summer for the European arena concert dates on their No Shame Tour. Initially set to take place between 26 May 2020 to 16 June 2020, the European leg of the tour was postponed due to the ongoing COVID-19 pandemic. The European shows are now set to begin on 20 April 2021 at the Palais 12 Arena in Brussels, Belgium with All Time Low being the opening act for thirteen shows.
On December 4, 2020, the band's song "Monsters" was re-released, featuring vocals from singer Demi Lovato.
On March 24, 2021, the band released the single "Once In a Lifetime".
On July 30, 2021, the band released a single "PMA" (Postmodern Anxiety) featuring Pale Waves.
Online allegations
In early October 2021, a TikTok video surfaced that accused an unnamed pop-punk band of inviting a 13-year-old onto its tour bus, claiming in the comments section that they "tried to take my bra off" with additional indications that it was All Time Low. A Twitter thread was later released anonymously detailing allegations against Jack Barakat. The band released a statement calling the allegations "completely and utterly false" and said they would pursue legal action. Meet Me at the Altar and Nothing,Nowhere dropped out of the band's Autumn tour and announced joint dates for shows in the wake of the allegations. The band sued three anonymous accounts for libel in February 2022, claiming they were "the victims of defamatory social media posts falsely and maliciously accusing them of sexual abuse and knowingly enabling such illegal conduct."
Musical style and influences
All Time Low's musical style has generally been described as pop punk, pop rock, power pop, emo pop, emo, and alternative rock. All Time Low cites bands such as Blink-182, Green Day, MxPx, New Found Glory, Saves the Day, and The Get Up Kids as influences.
Band members
Current members
Alex Gaskarth – lead vocals, rhythm guitar (2003–present)
Jack Barakat – lead guitar, backing vocals (2003–present); rhythm guitar (2003)
Rian Dawson – drums, percussion (2003–present)
Zack Merrick – bass guitar, backing vocals (2003–present)
Former members
Chris Cortilello – bass guitar (2003)
TJ Ihle – lead guitar, backing vocals (2003)
Touring members
Dan Swank – rhythm guitar, keyboards, backing vocals, percussion (2020–present)
Bryan Donahue – rhythm guitar, backing vocals (2013–2020)
Matt Colussy – rhythm guitar (2011–2013)
Matt Flyzik – backing vocals (2006–2013)
Timeline
Discography
Studio albums
The Party Scene (2005)
So Wrong, It's Right (2007)
Nothing Personal (2009)
Dirty Work (2011)
Don't Panic (2012)
Future Hearts (2015)
Last Young Renegade (2017)
Wake Up, Sunshine (2020)
Tours
Headlining
Manwhores and Open Sores Tour (2008)
AP Tour 2008 (2008)
Shortest Tour Ever (2008)
The Compromising of Integrity, Morality and Principles in Exchange for Money Tour (2008)
The Glamour Kills Tour (2009)
A Love Like War (2014)
Opening acts
Fall Out Boy – Believers Never Die Tour Part Deux Tour (2009)
5 Seconds of Summer – No Shame Tour (European shows only) (April 2021)
Awards and nominations
References
External links
Pop punk groups from Maryland
American pop rock music groups
American power pop groups
American emo musical groups
Interscope Records artists
Kerrang! Awards winners
Musical groups established in 2003
Musical groups from Baltimore
Rock music groups from Maryland
Musical quartets
People from Towson, Maryland
Hopeless 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"
] |
[
"All Time Low",
"2011: Dirty Work",
"Was this an album?",
"All Time Low released their fourth studio album almost a year later, titled Dirty Work,",
"Which year was it released?",
"in June 2011,",
"What was done before the album was released?",
"In March 15, 2010, All Time Low released the song \"Painting Flowers\"",
"Which album was this song on?",
"album Almost Alice,",
"Did this album chart on the billboard or others?",
"Dirty Work, in June 2011, after being pushed back from a March release date. The album is currently All Time Low's highest-selling album to date overseas.",
"Did they tour?",
"In spring of 2011, All Time Low embarked on the Dirty Work Tour even though the album was not yet released,",
"What were some of the locations for this one or others?",
"UK tour",
"Where there any in the US? or outside UK",
"In Canada, the group toured with Simple Plan, Marianas Trench, and These Kids Wear Crowns.",
"Are there any other interesting aspects about this article?",
"All Time Low returned to Ireland & The UK in January and February 2010 as they headlined the Kerrang! Relentless Tour 2010 With The Blackout, My Passion and Young Guns."
] |
C_0fd9a62a282441e1873e80a5a9ce7595_0
|
Who else did they tour or perform with?
| 10 |
Who else did All Time Low tour or perform with, other than Young Guns?
|
All Time Low
|
All Time Low returned to Ireland & The UK in January and February 2010 as they headlined the Kerrang! Relentless Tour 2010 With The Blackout, My Passion and Young Guns. They played a few mainland Europe shows immediately afterward, mostly in countries they had never been before. All Time Low returned to Australia in February and March to play at Soundwave festival. All Time Low co-headlined The Bamboozle Roadshow 2010 between May and June, with Boys Like Girls, Third Eye Blind, and LMFAO, along with numerous supporting bands including Good Charlotte, Forever The Sickest Kids, Cartel, and Simple Plan. All Time Low played the Reading and Leeds Festival 2010 in the UK over the August Bank Holiday. All Time Low headlined the My Small Package Tour in fall 2010, with supporting acts A Rocket to the Moon and City (Comma) State. Halfway during the tour, Before You Exit became a supporting act. On October 24, Storm The Beaches opened on the Baltimore date of the tour. In March 15, 2010, All Time Low released the song "Painting Flowers" for the album Almost Alice, the soundtrack for the fantasy-adventure film Alice in Wonderland. They then began writing for their fourth studio album, which would also be their major label debut. Demos for the band's album leaked to the web in August 2010. The band later confirmed in an interview which tracks would be on the upcoming album. All Time Low released their fourth studio album almost a year later, titled Dirty Work, in June 2011, after being pushed back from a March release date. The album is currently All Time Low's highest-selling album to date overseas. It earned the album a peak position of No. 13 in Australia and Canada and No. 20 in the UK. In spring of 2011, All Time Low embarked on the Dirty Work Tour even though the album was not yet released, supported by Yellowcard, Hey Monday, and The Summer Set. They were joined by Yellowcard and Young Guns on their UK tour shortly after. All Time Low concluded their summer 2011 tour, "Gimme Summer Ya Love Tour", with opening acts Mayday Parade, We Are The In Crowd, The Starting Line, Brighter, and The Cab. In September 2011, the band was scheduled to play at Soundwave Revolution in Australia, but the festival was cancelled. All Time Low co-headlined a mini-festival tour, Counter Revolution, in its place. The band finished their fall 2011 tour, "The Rise and Fall Of My Pants Tour" with The Ready Set, He Is We, and Paradise Fears. In Canada, the group toured with Simple Plan, Marianas Trench, and These Kids Wear Crowns. CANNOTANSWER
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along with numerous supporting bands including Good Charlotte, Forever The Sickest Kids, Cartel, and Simple Plan.
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All Time Low is an American rock band from Towson, Maryland formed in 2003. Consisting of lead vocalist/rhythm guitarist Alex Gaskarth, lead guitarist Jack Barakat, bassist/backing vocalist Zack Merrick, and drummer Rian Dawson, the band took its name from lyrics in the song "Head on Collision" by New Found Glory. The band has consistently done year-long tours, has headlined numerous tours, and has appeared at music festivals including Warped Tour, Reading and Leeds, and Soundwave.
Beginning as a band in high school, All Time Low released their debut EP, The Three Words to Remember in Dealing with the End EP, in 2004 through local label Emerald Moon. Since then the band has released eight studio albums: The Party Scene (2005), So Wrong, It's Right (2007), Nothing Personal (2009), Dirty Work (2011), Don't Panic (2012), Future Hearts (2015), Last Young Renegade (2017), and Wake Up, Sunshine (2020). They released their first live album, Straight to DVD, in 2010, and released their second live album, Straight to DVD II: Past, Present and Future Hearts, on September 9, 2016.
History
2003–2006: Formation and The Party Scene
Formed while still in high school in 2003, All Time Low began covering songs by pop punk bands such as Blink-182. The band's line-up included Alex Gaskarth on vocals, Jack Barakat on guitar, TJ Ihle on lead guitar and backing vocals, Chris Cortilello on bass, and Rian Dawson on drums. Cortilello and Ihle left the band, resulting in the band laying dormant until Zack Merrick joined on bass and Gaskarth picked up guitar. They released a four-song EP in November before signing to Emerald Moon Records in 2004. They released their second EP, titled The Three Words to Remember in Dealing with the End EP later that same year. The band released their debut studio album, The Party Scene, in July 2005.
In December, it was announced that the band was no longer signed, but were attracting attention from a number of record labels. In late 2006, the band performed a showcase for John Janick the founder of record label Fueled by Ramen. They were not signed because Cute Is What We Aim For had recently been taken on by the label, which was not in a position to sign another band at the time. The band was brought to the attention of Hopeless Records by fellow touring band Amber Pacific; on March 28, 2006, it was announced that All Time Low had signed with Hopeless. The band said in an interview that they were starting to get serious about music while in their senior year of high school; following their graduation, the members focused on the group full-time, and released the Put Up or Shut Up EP in July. The EP entered the Independent Albums chart at No. 20 and the Top Heatseekers at No. 12.
All Time Low began a busy tour in support of the EP in late 2006. After the tour, the band began writing material for their second studio album.
2007–2008: So Wrong, It's Right
In the summer of 2007, All Time Low played the Vans Warped Tour on the Smartpunk Stage. They made their live debut in the UK in late 2007 supporting Plain White T's.
All Time Low released their second studio album So Wrong, It's Right in September 2007. It peaked at No. 62 on the Billboard 200 and No. 6 on the Independent Albums chart. The second single from the album, "Dear Maria, Count Me In", which was written about a stripper, became the band's first single to reach the charts and peaked at No. 86 on the Pop 100. In 2011, the single was certified Gold for 500,000 shipments.
In early 2008 the band completed their first headlining tour, the Manwhores and Open Sores Tour with opening acts Every Avenue, Mayday Parade, and Just Surrender.
Following the release of So Wrong, It's Right, All Time Low quickly gained popularity, eventually making their TRL debut on February 12, 2008. They have also been featured on MTV's Discover and Download and Music Choice's Fresh Crops, and have been added to both MTV's Big Ten and MTV Hits playlists. On March 7, 2008, the band made their live television debut on Jimmy Kimmel Live! and then performed live at the mtvU Woodie Awards.
From March 2008 to May 2008, they co-headlined the AP Tour 2008 with The Rocket Summer; supported by acts such as The Matches, Sonny Moore, and Forever the Sickest Kids. In May 2008 they played at the Give It a Name Festival. Also in May 2008, they co-headlined a UK tour with Cobra Starship. In July 2008, the band headlined the Shortest Tour Ever with supporting acts Hit the Lights, Valencia, and There for Tomorrow. From mid-July to mid-August they played the 2008 Vans Warped Tour. They ended 2008 with their headlining tour, The Compromising of Integrity, Morality and Principles in Exchange for Money Tour with Mayday Parade, The Maine, and Every Avenue.
In December 2008, All Time Low was named "Band of the Year" by Alternative Press magazine and featured on the cover of their January 2009 issue.
2009–2010: Nothing Personal
In early 2009, All Time Low confirmed in an interview with UK magazine Rock Sound that they had begun writing new material for a third studio album and revealed they had collaborated with artists and producers to help co-write a number of songs.
Although still in the writing process, All Time Low began recording for their new album in January 2009, they finished recording only a month later. The album's lead single "Weightless" was released in March 2009 and became the band's first song to achieve some radio play worldwide. The song was included during the band's appearance at major concert venues, such as Bambooozle in May 2009, to promote the new album.
All Time Low released their third studio album Nothing Personal in July 2009. Before its official release, the full album was made available for streaming download one week earlier through MTV's The Leak.
Billboard magazine predicted that the album "looked like it could" enter the top ten of the Billboard 200 in its debut week, with anywhere between 60,000 and 75,000 sales. Nothing Personal debuted at No. 4 on the Billboard chart and sold 63,000 copies, making it the band's highest charting album to date
They played Fall Out Boy's Believers Never Die Tour Part Deux Tour in spring 2009, with Metro Station, Cobra Starship, and Hey Monday. All Time Low also announced tours in both Australia and Japan in June 2009 with Set Your Goals. The band also did a ten date tour with We the Kings, Cartel and Days Difference. They headlined Warped Tour 2009 from July 19 through the end of the tour, and then played at Voodoo Experience 2009, which was headlined by Eminem, Kiss and The Flaming Lips.
All Time Low completed a European tour in the Fall of 2009, with support from The Audition and The Friday Night Boys. All Time Low also headlined the first The Glamour Kills Tour with We The Kings, Hey Monday, and The Friday Night Boys. It began October 15, 2009, and ran through December 6, 2009.
All Time Low announced in November 2009 that they had been signed to major label Interscope Records. One month later, the band won the "Best Pop Punk Band" at the Top In Rock Awards.
In May 2010, All Time Low released their first live album, entitled Straight to DVD. The CD/DVD was a recording of a show in New York.
All Time Low returned to Ireland & The UK in January and February 2010 as they headlined the Kerrang! Relentless Tour 2010 With The Blackout, My Passion and Young Guns. They played a few mainland Europe shows immediately afterward, mostly in countries they had never been before. All Time Low returned to Australia in February and March to play at Soundwave festival. All Time Low co-headlined The Bamboozle Roadshow 2010 between May and June, with Boys Like Girls, Third Eye Blind, and LMFAO, along with numerous supporting bands including Good Charlotte, Forever The Sickest Kids, Cartel, and Simple Plan. All Time Low played the Reading and Leeds Festival 2010 in the UK over the August Bank Holiday. All Time Low headlined the My Small Package Tour in fall 2010, with supporting acts A Rocket to the Moon and City (Comma) State. Halfway during the tour, Before You Exit became a supporting act. On October 24, Storm The Beaches opened on the Baltimore date of the tour.
On March 15, 2010, All Time Low released the song "Painting Flowers" for the album Almost Alice, the soundtrack for the fantasy-adventure film Alice in Wonderland. They then began writing for their fourth studio album, which would also be their major label debut.
2011–2013: Dirty Work and Don't Panic
Demos for the band's album leaked to the web in August 2010. The band later confirmed in an interview which tracks would be on the upcoming album. All Time Low released their fourth studio album almost a year later, titled Dirty Work, in June 2011, after being pushed back from a March release date. The album is currently All Time Low's highest-selling album to date overseas. It earned the album a peak position of No. 13 in Australia and Canada and No. 20 in the UK.
In spring of 2011, All Time Low embarked on the Dirty Work Tour even though the album was not yet released, supported by Yellowcard, Hey Monday, and The Summer Set. They were joined by Yellowcard and Young Guns on their UK tour shortly after. All Time Low concluded their summer 2011 tour, "Gimme Summer Ya Love Tour", with opening acts Mayday Parade, We Are The In Crowd, The Starting Line, Brighter, and The Cab. In September 2011, the band was scheduled to play at Soundwave Revolution in Australia, but the festival was cancelled. All Time Low co-headlined a mini-festival tour, Counter Revolution, in its place. The band finished their fall 2011 tour, "The Rise and Fall Of My Pants Tour" with The Ready Set, He Is We, and Paradise Fears. In Canada, the group toured with Simple Plan, Marianas Trench, and These Kids Wear Crowns.
The band returned to the UK on January 12, 2012. supported by The Maine and We Are The In Crowd and toured until February 4. Several of these dates sold out, so more dates were added. All Time Low also played the Warped Tour (June–August 2012) and the Reading and Leeds Festival (August 2012).
In May 2012, All Time Low left their label Interscope Records and released a new song titled "The Reckless and the Brave" on June 1 via their website as a free download. The band announced that they had been working on a new studio album, due for release sometime in 2012. On July 3, All Time Low announced that they had signed to Hopeless Records again and that the new album would be released in the second half of 2012. On August 10 they announced that their new album, titled Don't Panic would be released October 9 through Hopeless Records. On August 24, a new song titled "For Baltimore" was released through Alternative Press. "Somewhere in Neverland" was released next, peaking in the top 50 on the US iTunes charts.
After the completion of the 2012 Warped Tour, the band announced a "Rockshow at the End of the World" headlining tour with The Summer Set, The Downtown Fiction and Hit The Lights. They headlined in Dublin, Ireland on August 20, Aberdeen, Scotland on August 22 and in Edinburgh, Scotland on August 23, 2012. They then played a series of shows around Europe including supporting Green Day in Germany. All Time Low were announced on Soundwave's 2013 lineup for Australia.
On September 27, All Time Low released the song "Outlines", featuring Jason Vena from the band Acceptance via MTV. On October 2, a week before its release, Hopeless Records' YouTube channel posted the entire Don't Panic album as a stream, with lyrics for all the songs.
In September 2013, the band re-released their album as Don't Panic: It's Longer Now!. It featured four newly recorded songs and four additional acoustic remixes as well as the original material. The lead single, A Love Like War featuring Vic Fuentes of Pierce the Veil was released on September 2. Starting on September 23, All Time Low toured with Pierce the Veil as a supporting act of A Day To Remember's House Party Tour.
2014–2016: Future Hearts
On March 8, 2014, All Time Low toured the UK as part of their "A Love Like War: UK Tour" before moving on to the states on March 28 for the remaining part of the tour. The music video for their song "The Irony of Choking on a Lifesaver" used clips from that tour and premiered on Kerrang! on May 14.
Their next album would be recorded with producer John Feldman. The album, Future Hearts, was announced with the first single, "Something's Gotta Give", premiering on Radio One on January 11, 2015. The second single, "Kids In The Dark", was released on March 9, 2015. The band played Soundwave 2015 in Australia and headlined sideshows.
They headlined a spring US 2015 tour for the album with support from Issues, Tonight Alive and State Champs, and co-headlining a UK tour with You Me At Six. Future Hearts debuted at No. 2 on the Billboard 200, selling 75,000 copies in its first week, becoming the band's highest charting and biggest selling week ever. It also topped the UK Albums Chart with almost 20,000 first week sales.
In July 2015, the band won four awards at the 2015 Alternative Press Music Awards.
The band has since toured and released music videos, including one for "Runaways" in August 2015. On September 1, 2016, the band leaked a new song titled "Take Cover", which was later officially released with a music video the next day as a bonus track for their live album, "Straight to DVD II: Past, Present, and Future Hearts". Members of the band also appeared for surprise DJ sets at Emo Nite in Los Angeles in 2015.
2017–2019: Last Young Renegade
In mid-February 2017, the band announced a new song to be premiered on BBC Radio 1 Breakfast Show with Nick Grimshaw, called "Dirty Laundry". The music video was directed by Pat Tracy, who had also directed the music video for "Missing You". This was the first release after changing record labels from Hopeless Records to Fueled by Ramen. Both songs are singles from their album, Last Young Renegade, which was released on June 2, 2017. The band also released their cover of "Longview" by Green Day for the documentary "Green Day: The Early Years". On March 1, 2018, it was announced All Time Low would play three dates of the 2018 Vans Warped Tour. On June 12, 2018, the band released a song called "Everything Is Fine." The song's teasing featured the band members posting the song's title to social media repeatedly a day before it was released. On June 29, 2018, the band released a song called "Birthday." A live-in-the-studio re-recording of Nothing Personal was released on November 8, 2019.
On 29 May 2019, All Time Low performed at Australian band 5 Seconds of Summer's Friends of Friends sold-out benefit concert, held in Venice, California. All proceeds from the event were donated to the Safe Place for Youth project, a housing and support service for homeless youth in Los Angeles.
2020–present: Wake Up, Sunshine
On January 1, 2020, the band released a video indicating the Last Young Renegade era had come to an end with a person in a panda suit burning their renegade jerseys, hinting their new album was coming.
Later that same month on January 21, 2020, the band released the song "Some Kind of Disaster".
On February 17, 2020, the band announced their new album, titled Wake Up, Sunshine, and would be released on April 3, 2020. The album featured 15 tracks and collaborations with rapper Blackbear and The Band Camino.
On February 24, 2020, it was announced that All Time Low would be opening acts for Australian band, 5 Seconds of Summer for the European arena concert dates on their No Shame Tour. Initially set to take place between 26 May 2020 to 16 June 2020, the European leg of the tour was postponed due to the ongoing COVID-19 pandemic. The European shows are now set to begin on 20 April 2021 at the Palais 12 Arena in Brussels, Belgium with All Time Low being the opening act for thirteen shows.
On December 4, 2020, the band's song "Monsters" was re-released, featuring vocals from singer Demi Lovato.
On March 24, 2021, the band released the single "Once In a Lifetime".
On July 30, 2021, the band released a single "PMA" (Postmodern Anxiety) featuring Pale Waves.
Online allegations
In early October 2021, a TikTok video surfaced that accused an unnamed pop-punk band of inviting a 13-year-old onto its tour bus, claiming in the comments section that they "tried to take my bra off" with additional indications that it was All Time Low. A Twitter thread was later released anonymously detailing allegations against Jack Barakat. The band released a statement calling the allegations "completely and utterly false" and said they would pursue legal action. Meet Me at the Altar and Nothing,Nowhere dropped out of the band's Autumn tour and announced joint dates for shows in the wake of the allegations. The band sued three anonymous accounts for libel in February 2022, claiming they were "the victims of defamatory social media posts falsely and maliciously accusing them of sexual abuse and knowingly enabling such illegal conduct."
Musical style and influences
All Time Low's musical style has generally been described as pop punk, pop rock, power pop, emo pop, emo, and alternative rock. All Time Low cites bands such as Blink-182, Green Day, MxPx, New Found Glory, Saves the Day, and The Get Up Kids as influences.
Band members
Current members
Alex Gaskarth – lead vocals, rhythm guitar (2003–present)
Jack Barakat – lead guitar, backing vocals (2003–present); rhythm guitar (2003)
Rian Dawson – drums, percussion (2003–present)
Zack Merrick – bass guitar, backing vocals (2003–present)
Former members
Chris Cortilello – bass guitar (2003)
TJ Ihle – lead guitar, backing vocals (2003)
Touring members
Dan Swank – rhythm guitar, keyboards, backing vocals, percussion (2020–present)
Bryan Donahue – rhythm guitar, backing vocals (2013–2020)
Matt Colussy – rhythm guitar (2011–2013)
Matt Flyzik – backing vocals (2006–2013)
Timeline
Discography
Studio albums
The Party Scene (2005)
So Wrong, It's Right (2007)
Nothing Personal (2009)
Dirty Work (2011)
Don't Panic (2012)
Future Hearts (2015)
Last Young Renegade (2017)
Wake Up, Sunshine (2020)
Tours
Headlining
Manwhores and Open Sores Tour (2008)
AP Tour 2008 (2008)
Shortest Tour Ever (2008)
The Compromising of Integrity, Morality and Principles in Exchange for Money Tour (2008)
The Glamour Kills Tour (2009)
A Love Like War (2014)
Opening acts
Fall Out Boy – Believers Never Die Tour Part Deux Tour (2009)
5 Seconds of Summer – No Shame Tour (European shows only) (April 2021)
Awards and nominations
References
External links
Pop punk groups from Maryland
American pop rock music groups
American power pop groups
American emo musical groups
Interscope Records artists
Kerrang! Awards winners
Musical groups established in 2003
Musical groups from Baltimore
Rock music groups from Maryland
Musical quartets
People from Towson, Maryland
Hopeless Records artists
| true |
[
"Jeanne Cinnante Galway, Lady Galway (born October 8, 1955) is an American-born concert flutist and teacher who lives in Switzerland. She is married to flutist James Galway and they often tour as a pair. They both live in Switzerland.\n\nBiography\nJeanne Cinnante was born and raised in and around Long Island, New York. She started playing the flute when she was 10 and said she had to purchase her own flutes with babysitting money. She graduated in 1973 from John Glenn High School in Elwood, then attended Mannes College of Music in New York City.\n\nShe met Sir James Galway in 1982 and they dated for two years before marrying in 1984. She did not perform between 1984 and 1992 due to the stress of traveling and supporting her husband on tour, managing his business affairs, and taking care of his young children. They now travel and perform together. In addition to performing with her husband, she sometimes performs as a solo artist or as part of the trio Zephyr (with pianist Jonathan Feldman and cellist Darrett Adkins). She teaches and actively supports music education. In 2008, Irish America magazine awarded James and Jeanne Galway the \"Spirit of Ireland\" award in recognition of their roles as musical ambassadors.\n\nShe currently lives with her husband in Lucerne, Switzerland. Galway currently performs on an 18 carat, James Galway edition gold Nagahara flute. Her husband no longer performs with anyone else.\n\nDiscography\n\"My Magic Flute\" with Sir James Galway and Sinfonia Varsovia\n\nReferences\n\nExternal links \n Official website\n\nAmerican classical flautists\n1955 births\nLiving people\nAmerican expatriates in Switzerland\nClassical musicians from New York (state)",
"The Appetite for Construction Tour was a three-month 2007 concert tour that was co-headlined by rock bands Switchfoot and Relient K, with special guests Ruth.\n\nThe tour was unique in that none of the bands involved were touring to push a new album or single. They embarked on the tour to benefit Habitat For Humanity, and donated one dollar per ticket sold to the organization. At end of the tour, the bands had raised over $100,000 for Habitat.\n\nSwitchfoot frontman Jon Foreman also co-wrote a song with Relient K singer Matt Thiessen called \"Rebuild\" for the tour. It was released as a \"donation single\" on Switchfoot's website, with options to donate time or money to Habitat For Humanity, in exchange for the song.\n\nThe tour was Tour Managed by Jennifer Manning and Production Managed by Scott Cannon. It played mostly in indoor arenas or stadiums, as opposed to small rock clubs, Switchfoot's favored stomping grounds. The tour's name is a reference to \"Appetite for Destruction\", the debut album of American hard rock band Guns N' Roses.\n\nShow and Set list\n\nRuth\nRuth was the first band to perform at the shows, playing 4-5 songs in a half-hour-long set.\n\nRelient K\nRelient K was the first of the headlining acts to perform, with their set usually lasting about an hour and a half. The set list featured hits like \"Be My Escape\" and \"Who I Am Hates Who I've Been\" from their 2004 breakthrough record, \"Mmhmm\", as well as some of their older classics and newer songs. The band did not perform an encore, playing all their songs in one set.\n\nThe band also routinely covered the theme from the hit TV show, The Office.\nFor the dance-floor favorite \"Sadie Hawkins Dance\", the band usually brought up people from the audience to play guitar and percussion instruments for the end of the song.\n\nSwitchfoot\nSwitchfoot was the second of the two headliners to play, and their set usually lasted about an hour and a half as well. Because they were co-headlining with Relient K, many of the songs on this tour were old favorites from the band's multi-platinum \"The Beautiful Letdown\", along with their singles.\n\nThe setlist generally consisted of the following, with minor variations in song order:\n\n \"Meant to Live intro''\n \"Oh! Gravity.\"\n \"Stars\"\n \"This Is Your Life\"\n \"Gone/Crazy In Love mash-up\"\n \"American Dream\"\n \"Dirty Second Hands\"\n \"We Are One Tonight\"\n \"Rebuild\"\n \"On Fire\"\n \"Awakening\"\n \"Meant to Live\"\n \"Rebuild\"\nEncore\n \"Only Hope\"\n \"Dare You to Move\"\n\nSongs like \"Ammunition\" and \"Head over Heels (In This Life)\" were also played in light rotation.\nRebuild was played with every band member from the other two bands on-stage.\n\nTour dates\n\nReferences\n\nExternal links\n Tour Press Release\n Tour End\n Habitat For Humanity Press video\n A Special Habitat For Humanity Report by Drew Shirley\n\n2007 concert tours\nSwitchfoot concert tours\nHabitat for Humanity\nChristian concert tours"
] |
[
"All Time Low",
"2011: Dirty Work",
"Was this an album?",
"All Time Low released their fourth studio album almost a year later, titled Dirty Work,",
"Which year was it released?",
"in June 2011,",
"What was done before the album was released?",
"In March 15, 2010, All Time Low released the song \"Painting Flowers\"",
"Which album was this song on?",
"album Almost Alice,",
"Did this album chart on the billboard or others?",
"Dirty Work, in June 2011, after being pushed back from a March release date. The album is currently All Time Low's highest-selling album to date overseas.",
"Did they tour?",
"In spring of 2011, All Time Low embarked on the Dirty Work Tour even though the album was not yet released,",
"What were some of the locations for this one or others?",
"UK tour",
"Where there any in the US? or outside UK",
"In Canada, the group toured with Simple Plan, Marianas Trench, and These Kids Wear Crowns.",
"Are there any other interesting aspects about this article?",
"All Time Low returned to Ireland & The UK in January and February 2010 as they headlined the Kerrang! Relentless Tour 2010 With The Blackout, My Passion and Young Guns.",
"Who else did they tour or perform with?",
"along with numerous supporting bands including Good Charlotte, Forever The Sickest Kids, Cartel, and Simple Plan."
] |
C_0fd9a62a282441e1873e80a5a9ce7595_0
|
Did they talk about influences?
| 11 |
Did All Time Low talk about influences?
|
All Time Low
|
All Time Low returned to Ireland & The UK in January and February 2010 as they headlined the Kerrang! Relentless Tour 2010 With The Blackout, My Passion and Young Guns. They played a few mainland Europe shows immediately afterward, mostly in countries they had never been before. All Time Low returned to Australia in February and March to play at Soundwave festival. All Time Low co-headlined The Bamboozle Roadshow 2010 between May and June, with Boys Like Girls, Third Eye Blind, and LMFAO, along with numerous supporting bands including Good Charlotte, Forever The Sickest Kids, Cartel, and Simple Plan. All Time Low played the Reading and Leeds Festival 2010 in the UK over the August Bank Holiday. All Time Low headlined the My Small Package Tour in fall 2010, with supporting acts A Rocket to the Moon and City (Comma) State. Halfway during the tour, Before You Exit became a supporting act. On October 24, Storm The Beaches opened on the Baltimore date of the tour. In March 15, 2010, All Time Low released the song "Painting Flowers" for the album Almost Alice, the soundtrack for the fantasy-adventure film Alice in Wonderland. They then began writing for their fourth studio album, which would also be their major label debut. Demos for the band's album leaked to the web in August 2010. The band later confirmed in an interview which tracks would be on the upcoming album. All Time Low released their fourth studio album almost a year later, titled Dirty Work, in June 2011, after being pushed back from a March release date. The album is currently All Time Low's highest-selling album to date overseas. It earned the album a peak position of No. 13 in Australia and Canada and No. 20 in the UK. In spring of 2011, All Time Low embarked on the Dirty Work Tour even though the album was not yet released, supported by Yellowcard, Hey Monday, and The Summer Set. They were joined by Yellowcard and Young Guns on their UK tour shortly after. All Time Low concluded their summer 2011 tour, "Gimme Summer Ya Love Tour", with opening acts Mayday Parade, We Are The In Crowd, The Starting Line, Brighter, and The Cab. In September 2011, the band was scheduled to play at Soundwave Revolution in Australia, but the festival was cancelled. All Time Low co-headlined a mini-festival tour, Counter Revolution, in its place. The band finished their fall 2011 tour, "The Rise and Fall Of My Pants Tour" with The Ready Set, He Is We, and Paradise Fears. In Canada, the group toured with Simple Plan, Marianas Trench, and These Kids Wear Crowns. CANNOTANSWER
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CANNOTANSWER
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All Time Low is an American rock band from Towson, Maryland formed in 2003. Consisting of lead vocalist/rhythm guitarist Alex Gaskarth, lead guitarist Jack Barakat, bassist/backing vocalist Zack Merrick, and drummer Rian Dawson, the band took its name from lyrics in the song "Head on Collision" by New Found Glory. The band has consistently done year-long tours, has headlined numerous tours, and has appeared at music festivals including Warped Tour, Reading and Leeds, and Soundwave.
Beginning as a band in high school, All Time Low released their debut EP, The Three Words to Remember in Dealing with the End EP, in 2004 through local label Emerald Moon. Since then the band has released eight studio albums: The Party Scene (2005), So Wrong, It's Right (2007), Nothing Personal (2009), Dirty Work (2011), Don't Panic (2012), Future Hearts (2015), Last Young Renegade (2017), and Wake Up, Sunshine (2020). They released their first live album, Straight to DVD, in 2010, and released their second live album, Straight to DVD II: Past, Present and Future Hearts, on September 9, 2016.
History
2003–2006: Formation and The Party Scene
Formed while still in high school in 2003, All Time Low began covering songs by pop punk bands such as Blink-182. The band's line-up included Alex Gaskarth on vocals, Jack Barakat on guitar, TJ Ihle on lead guitar and backing vocals, Chris Cortilello on bass, and Rian Dawson on drums. Cortilello and Ihle left the band, resulting in the band laying dormant until Zack Merrick joined on bass and Gaskarth picked up guitar. They released a four-song EP in November before signing to Emerald Moon Records in 2004. They released their second EP, titled The Three Words to Remember in Dealing with the End EP later that same year. The band released their debut studio album, The Party Scene, in July 2005.
In December, it was announced that the band was no longer signed, but were attracting attention from a number of record labels. In late 2006, the band performed a showcase for John Janick the founder of record label Fueled by Ramen. They were not signed because Cute Is What We Aim For had recently been taken on by the label, which was not in a position to sign another band at the time. The band was brought to the attention of Hopeless Records by fellow touring band Amber Pacific; on March 28, 2006, it was announced that All Time Low had signed with Hopeless. The band said in an interview that they were starting to get serious about music while in their senior year of high school; following their graduation, the members focused on the group full-time, and released the Put Up or Shut Up EP in July. The EP entered the Independent Albums chart at No. 20 and the Top Heatseekers at No. 12.
All Time Low began a busy tour in support of the EP in late 2006. After the tour, the band began writing material for their second studio album.
2007–2008: So Wrong, It's Right
In the summer of 2007, All Time Low played the Vans Warped Tour on the Smartpunk Stage. They made their live debut in the UK in late 2007 supporting Plain White T's.
All Time Low released their second studio album So Wrong, It's Right in September 2007. It peaked at No. 62 on the Billboard 200 and No. 6 on the Independent Albums chart. The second single from the album, "Dear Maria, Count Me In", which was written about a stripper, became the band's first single to reach the charts and peaked at No. 86 on the Pop 100. In 2011, the single was certified Gold for 500,000 shipments.
In early 2008 the band completed their first headlining tour, the Manwhores and Open Sores Tour with opening acts Every Avenue, Mayday Parade, and Just Surrender.
Following the release of So Wrong, It's Right, All Time Low quickly gained popularity, eventually making their TRL debut on February 12, 2008. They have also been featured on MTV's Discover and Download and Music Choice's Fresh Crops, and have been added to both MTV's Big Ten and MTV Hits playlists. On March 7, 2008, the band made their live television debut on Jimmy Kimmel Live! and then performed live at the mtvU Woodie Awards.
From March 2008 to May 2008, they co-headlined the AP Tour 2008 with The Rocket Summer; supported by acts such as The Matches, Sonny Moore, and Forever the Sickest Kids. In May 2008 they played at the Give It a Name Festival. Also in May 2008, they co-headlined a UK tour with Cobra Starship. In July 2008, the band headlined the Shortest Tour Ever with supporting acts Hit the Lights, Valencia, and There for Tomorrow. From mid-July to mid-August they played the 2008 Vans Warped Tour. They ended 2008 with their headlining tour, The Compromising of Integrity, Morality and Principles in Exchange for Money Tour with Mayday Parade, The Maine, and Every Avenue.
In December 2008, All Time Low was named "Band of the Year" by Alternative Press magazine and featured on the cover of their January 2009 issue.
2009–2010: Nothing Personal
In early 2009, All Time Low confirmed in an interview with UK magazine Rock Sound that they had begun writing new material for a third studio album and revealed they had collaborated with artists and producers to help co-write a number of songs.
Although still in the writing process, All Time Low began recording for their new album in January 2009, they finished recording only a month later. The album's lead single "Weightless" was released in March 2009 and became the band's first song to achieve some radio play worldwide. The song was included during the band's appearance at major concert venues, such as Bambooozle in May 2009, to promote the new album.
All Time Low released their third studio album Nothing Personal in July 2009. Before its official release, the full album was made available for streaming download one week earlier through MTV's The Leak.
Billboard magazine predicted that the album "looked like it could" enter the top ten of the Billboard 200 in its debut week, with anywhere between 60,000 and 75,000 sales. Nothing Personal debuted at No. 4 on the Billboard chart and sold 63,000 copies, making it the band's highest charting album to date
They played Fall Out Boy's Believers Never Die Tour Part Deux Tour in spring 2009, with Metro Station, Cobra Starship, and Hey Monday. All Time Low also announced tours in both Australia and Japan in June 2009 with Set Your Goals. The band also did a ten date tour with We the Kings, Cartel and Days Difference. They headlined Warped Tour 2009 from July 19 through the end of the tour, and then played at Voodoo Experience 2009, which was headlined by Eminem, Kiss and The Flaming Lips.
All Time Low completed a European tour in the Fall of 2009, with support from The Audition and The Friday Night Boys. All Time Low also headlined the first The Glamour Kills Tour with We The Kings, Hey Monday, and The Friday Night Boys. It began October 15, 2009, and ran through December 6, 2009.
All Time Low announced in November 2009 that they had been signed to major label Interscope Records. One month later, the band won the "Best Pop Punk Band" at the Top In Rock Awards.
In May 2010, All Time Low released their first live album, entitled Straight to DVD. The CD/DVD was a recording of a show in New York.
All Time Low returned to Ireland & The UK in January and February 2010 as they headlined the Kerrang! Relentless Tour 2010 With The Blackout, My Passion and Young Guns. They played a few mainland Europe shows immediately afterward, mostly in countries they had never been before. All Time Low returned to Australia in February and March to play at Soundwave festival. All Time Low co-headlined The Bamboozle Roadshow 2010 between May and June, with Boys Like Girls, Third Eye Blind, and LMFAO, along with numerous supporting bands including Good Charlotte, Forever The Sickest Kids, Cartel, and Simple Plan. All Time Low played the Reading and Leeds Festival 2010 in the UK over the August Bank Holiday. All Time Low headlined the My Small Package Tour in fall 2010, with supporting acts A Rocket to the Moon and City (Comma) State. Halfway during the tour, Before You Exit became a supporting act. On October 24, Storm The Beaches opened on the Baltimore date of the tour.
On March 15, 2010, All Time Low released the song "Painting Flowers" for the album Almost Alice, the soundtrack for the fantasy-adventure film Alice in Wonderland. They then began writing for their fourth studio album, which would also be their major label debut.
2011–2013: Dirty Work and Don't Panic
Demos for the band's album leaked to the web in August 2010. The band later confirmed in an interview which tracks would be on the upcoming album. All Time Low released their fourth studio album almost a year later, titled Dirty Work, in June 2011, after being pushed back from a March release date. The album is currently All Time Low's highest-selling album to date overseas. It earned the album a peak position of No. 13 in Australia and Canada and No. 20 in the UK.
In spring of 2011, All Time Low embarked on the Dirty Work Tour even though the album was not yet released, supported by Yellowcard, Hey Monday, and The Summer Set. They were joined by Yellowcard and Young Guns on their UK tour shortly after. All Time Low concluded their summer 2011 tour, "Gimme Summer Ya Love Tour", with opening acts Mayday Parade, We Are The In Crowd, The Starting Line, Brighter, and The Cab. In September 2011, the band was scheduled to play at Soundwave Revolution in Australia, but the festival was cancelled. All Time Low co-headlined a mini-festival tour, Counter Revolution, in its place. The band finished their fall 2011 tour, "The Rise and Fall Of My Pants Tour" with The Ready Set, He Is We, and Paradise Fears. In Canada, the group toured with Simple Plan, Marianas Trench, and These Kids Wear Crowns.
The band returned to the UK on January 12, 2012. supported by The Maine and We Are The In Crowd and toured until February 4. Several of these dates sold out, so more dates were added. All Time Low also played the Warped Tour (June–August 2012) and the Reading and Leeds Festival (August 2012).
In May 2012, All Time Low left their label Interscope Records and released a new song titled "The Reckless and the Brave" on June 1 via their website as a free download. The band announced that they had been working on a new studio album, due for release sometime in 2012. On July 3, All Time Low announced that they had signed to Hopeless Records again and that the new album would be released in the second half of 2012. On August 10 they announced that their new album, titled Don't Panic would be released October 9 through Hopeless Records. On August 24, a new song titled "For Baltimore" was released through Alternative Press. "Somewhere in Neverland" was released next, peaking in the top 50 on the US iTunes charts.
After the completion of the 2012 Warped Tour, the band announced a "Rockshow at the End of the World" headlining tour with The Summer Set, The Downtown Fiction and Hit The Lights. They headlined in Dublin, Ireland on August 20, Aberdeen, Scotland on August 22 and in Edinburgh, Scotland on August 23, 2012. They then played a series of shows around Europe including supporting Green Day in Germany. All Time Low were announced on Soundwave's 2013 lineup for Australia.
On September 27, All Time Low released the song "Outlines", featuring Jason Vena from the band Acceptance via MTV. On October 2, a week before its release, Hopeless Records' YouTube channel posted the entire Don't Panic album as a stream, with lyrics for all the songs.
In September 2013, the band re-released their album as Don't Panic: It's Longer Now!. It featured four newly recorded songs and four additional acoustic remixes as well as the original material. The lead single, A Love Like War featuring Vic Fuentes of Pierce the Veil was released on September 2. Starting on September 23, All Time Low toured with Pierce the Veil as a supporting act of A Day To Remember's House Party Tour.
2014–2016: Future Hearts
On March 8, 2014, All Time Low toured the UK as part of their "A Love Like War: UK Tour" before moving on to the states on March 28 for the remaining part of the tour. The music video for their song "The Irony of Choking on a Lifesaver" used clips from that tour and premiered on Kerrang! on May 14.
Their next album would be recorded with producer John Feldman. The album, Future Hearts, was announced with the first single, "Something's Gotta Give", premiering on Radio One on January 11, 2015. The second single, "Kids In The Dark", was released on March 9, 2015. The band played Soundwave 2015 in Australia and headlined sideshows.
They headlined a spring US 2015 tour for the album with support from Issues, Tonight Alive and State Champs, and co-headlining a UK tour with You Me At Six. Future Hearts debuted at No. 2 on the Billboard 200, selling 75,000 copies in its first week, becoming the band's highest charting and biggest selling week ever. It also topped the UK Albums Chart with almost 20,000 first week sales.
In July 2015, the band won four awards at the 2015 Alternative Press Music Awards.
The band has since toured and released music videos, including one for "Runaways" in August 2015. On September 1, 2016, the band leaked a new song titled "Take Cover", which was later officially released with a music video the next day as a bonus track for their live album, "Straight to DVD II: Past, Present, and Future Hearts". Members of the band also appeared for surprise DJ sets at Emo Nite in Los Angeles in 2015.
2017–2019: Last Young Renegade
In mid-February 2017, the band announced a new song to be premiered on BBC Radio 1 Breakfast Show with Nick Grimshaw, called "Dirty Laundry". The music video was directed by Pat Tracy, who had also directed the music video for "Missing You". This was the first release after changing record labels from Hopeless Records to Fueled by Ramen. Both songs are singles from their album, Last Young Renegade, which was released on June 2, 2017. The band also released their cover of "Longview" by Green Day for the documentary "Green Day: The Early Years". On March 1, 2018, it was announced All Time Low would play three dates of the 2018 Vans Warped Tour. On June 12, 2018, the band released a song called "Everything Is Fine." The song's teasing featured the band members posting the song's title to social media repeatedly a day before it was released. On June 29, 2018, the band released a song called "Birthday." A live-in-the-studio re-recording of Nothing Personal was released on November 8, 2019.
On 29 May 2019, All Time Low performed at Australian band 5 Seconds of Summer's Friends of Friends sold-out benefit concert, held in Venice, California. All proceeds from the event were donated to the Safe Place for Youth project, a housing and support service for homeless youth in Los Angeles.
2020–present: Wake Up, Sunshine
On January 1, 2020, the band released a video indicating the Last Young Renegade era had come to an end with a person in a panda suit burning their renegade jerseys, hinting their new album was coming.
Later that same month on January 21, 2020, the band released the song "Some Kind of Disaster".
On February 17, 2020, the band announced their new album, titled Wake Up, Sunshine, and would be released on April 3, 2020. The album featured 15 tracks and collaborations with rapper Blackbear and The Band Camino.
On February 24, 2020, it was announced that All Time Low would be opening acts for Australian band, 5 Seconds of Summer for the European arena concert dates on their No Shame Tour. Initially set to take place between 26 May 2020 to 16 June 2020, the European leg of the tour was postponed due to the ongoing COVID-19 pandemic. The European shows are now set to begin on 20 April 2021 at the Palais 12 Arena in Brussels, Belgium with All Time Low being the opening act for thirteen shows.
On December 4, 2020, the band's song "Monsters" was re-released, featuring vocals from singer Demi Lovato.
On March 24, 2021, the band released the single "Once In a Lifetime".
On July 30, 2021, the band released a single "PMA" (Postmodern Anxiety) featuring Pale Waves.
Online allegations
In early October 2021, a TikTok video surfaced that accused an unnamed pop-punk band of inviting a 13-year-old onto its tour bus, claiming in the comments section that they "tried to take my bra off" with additional indications that it was All Time Low. A Twitter thread was later released anonymously detailing allegations against Jack Barakat. The band released a statement calling the allegations "completely and utterly false" and said they would pursue legal action. Meet Me at the Altar and Nothing,Nowhere dropped out of the band's Autumn tour and announced joint dates for shows in the wake of the allegations. The band sued three anonymous accounts for libel in February 2022, claiming they were "the victims of defamatory social media posts falsely and maliciously accusing them of sexual abuse and knowingly enabling such illegal conduct."
Musical style and influences
All Time Low's musical style has generally been described as pop punk, pop rock, power pop, emo pop, emo, and alternative rock. All Time Low cites bands such as Blink-182, Green Day, MxPx, New Found Glory, Saves the Day, and The Get Up Kids as influences.
Band members
Current members
Alex Gaskarth – lead vocals, rhythm guitar (2003–present)
Jack Barakat – lead guitar, backing vocals (2003–present); rhythm guitar (2003)
Rian Dawson – drums, percussion (2003–present)
Zack Merrick – bass guitar, backing vocals (2003–present)
Former members
Chris Cortilello – bass guitar (2003)
TJ Ihle – lead guitar, backing vocals (2003)
Touring members
Dan Swank – rhythm guitar, keyboards, backing vocals, percussion (2020–present)
Bryan Donahue – rhythm guitar, backing vocals (2013–2020)
Matt Colussy – rhythm guitar (2011–2013)
Matt Flyzik – backing vocals (2006–2013)
Timeline
Discography
Studio albums
The Party Scene (2005)
So Wrong, It's Right (2007)
Nothing Personal (2009)
Dirty Work (2011)
Don't Panic (2012)
Future Hearts (2015)
Last Young Renegade (2017)
Wake Up, Sunshine (2020)
Tours
Headlining
Manwhores and Open Sores Tour (2008)
AP Tour 2008 (2008)
Shortest Tour Ever (2008)
The Compromising of Integrity, Morality and Principles in Exchange for Money Tour (2008)
The Glamour Kills Tour (2009)
A Love Like War (2014)
Opening acts
Fall Out Boy – Believers Never Die Tour Part Deux Tour (2009)
5 Seconds of Summer – No Shame Tour (European shows only) (April 2021)
Awards and nominations
References
External links
Pop punk groups from Maryland
American pop rock music groups
American power pop groups
American emo musical groups
Interscope Records artists
Kerrang! Awards winners
Musical groups established in 2003
Musical groups from Baltimore
Rock music groups from Maryland
Musical quartets
People from Towson, Maryland
Hopeless Records artists
| false |
[
".O.rang (or 'O'rang) was an English experimental music project led by former Talk Talk members Lee Harris and Paul Webb, with a shifting cast of guest musicians.\n\n.O.rang's music exhibits more culturally diverse influences than Talk Talk. Webb has commented \"We used to be in a reggae band when we were younger... The Talk Talk thing was always very Westernised, and we were listening to other kinds of world music.\" Among other elements, the project draws on dub, Krautrock, post-rock, and world fusion music.\n\nThe group's first album, Herd of Instinct (1994), was recorded similarly to Talk Talk's later albums: guest musicians played hours of improvisational material, then the performances were edited down and pieced together. However, in contrast to Talk Talk, the song structures were not planned before being recorded. Paul Webb explained, \"it was recorded before it was written.\" Guests on the album included former Bark Psychosis leader Graham Sutton and Portishead singer Beth Gibbons (who at the time applied to become the group's singer, before Portishead's growing success removed this possibility).\n\nAfter several false starts, a second album - 1996's Fields and Waves - was recorded. This album was more Krautrock-oriented and more structured in terms of composition, as well as being more focused around the core duo of Webb and Harris.\n\nA third album (with the working title of Loudhailer No. 19) was projected for release in 2001, but remains unreleased.\n\nDiscography\nHerd of Instinct (1994)\nSpoor EP (1994)\nFields and Waves (1996)\n\nReferences\n\nExternal links\n \n .O.rang at Discogs.com\n Site about the band\n\nEnglish post-rock groups\nEnglish experimental musical groups\nEnglish musical duos\nRock music duos",
"Smerz is a Norwegian electronic music duo based in Copenhagen, Denmark. The two members, Catharina Stoltenberg and Henriette Motzfeldt, met at the University of Copenhagen and subsequently dropped out of school to pursue music.\n\nSmerz signed to XL Recordings in 2017. In 2019 they announced US tour dates including a set at Pitchfork's Midwinter festival.\n\nStoltenberg and Motzfeldt have cited DJ Rashad and Rihanna as influences, as well as the television series Girls. Stoltenberg is the daughter of Jens Stoltenberg, a Norwegian politician and Secretary General of NATO.\n\nDiscography\nStudio albums\nBeliever (2021)\n\nExtended plays\nOkey (2017)\nHave fun (2018)\n\nSingles\n\"The favourite\" / \"Rap interlude\" (2020)\n\"I don't talk about that much\" / \"Hva hvis\" (2020)\n\"Believer\" (2021)\n\"Flashing\" (2021)\n\"Remember\" (2021)\n\nReferences\n\nNorwegian electronic music groups\nNorwegian musical duos\nWomen in electronic music\nXL Recordings artists"
] |
[
"Black Sabbath",
"Born Again (1983-1984)"
] |
C_33cdd6eae6294662ac88929b38897497_1
|
Is Born Again the name of a Black Sabbath album?
| 1 |
Is Born Again the name of a Black Sabbath album?
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Black Sabbath
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The remaining two original members, Tony Iommi and Geezer Butler, began auditioning new singers for the band's next release. Samson's Nicky Moore, and Lone Star's John Sloman were considered and Iommi states in his autobiography that Michael Bolton auditioned for the band. The band settled on former Deep Purple vocalist Ian Gillan to replace Ronnie James Dio in December 1982. While the project was not initially set to be called Black Sabbath, pressures from the record label forced the group to retain the name. The band entered The Manor Studios in Shipton-on-Cherwell, Oxfordshire, in June 1983 with a returned and newly sober Bill Ward on drums. Born Again (7 August 1983) was panned upon release by critics. Despite the negative reception of the album, it reached number four on the UK charts, and number 39 in the U.S. Even a decade after its release AllMusic's Eduardo Rivadavia called the album "dreadful", noting that "Gillan's bluesy style and humorous lyrics were completely incompatible with the lords of doom and gloom". Although he performed on the album, drummer Ward was unable to tour because of the pressures of the road, and quit the band after the commencement of the Born Again album. "I fell apart with the idea of touring", Ward later said. "I got so much fear behind touring, I didn't talk about the fear, I drank behind the fear instead and that was a big mistake." Ward was replaced by former Electric Light Orchestra drummer Bev Bevan for the Born Again '83 -'84 world tour, (often unofficially referred to as the 'Feigh Death Sabbath '83 - '84' World Tour) which began in Europe with Diamond Head, and later in the U.S. with Quiet Riot and Night Ranger. The band headlined the 1983 Reading Festival in England, adding the Deep Purple song "Smoke on the Water" to their set list. The tour in support of Born Again included a giant set of the Stonehenge monument. In a move that would be later parodied in the mockumentary This Is Spinal Tap, the band made a mistake in ordering the set piece. As Geezer Butler later explained: We had Sharon Osbourne's dad, Don Arden, managing us. He came up with the idea of having the stage set be Stonehenge. He wrote the dimensions down and gave it to our tour manager. He wrote it down in metres but he meant to write it down in feet. The people who made it saw fifteen metres instead of fifteen feet. It was 45 feet high and it wouldn't fit on any stage anywhere so we just had to leave it in the storage area. It cost a fortune to make but there was not a building on earth that you could fit it into. CANNOTANSWER
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Born Again (7 August 1983) was panned upon release by critics. Despite the negative reception of the album,
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Black Sabbath were an English rock band formed in Birmingham in 1968 by guitarist Tony Iommi, drummer Bill Ward, bassist Geezer Butler and vocalist Ozzy Osbourne. They are often cited as pioneers of heavy metal music. The band helped define the genre with releases such as Black Sabbath (1970), Paranoid (1970), and Master of Reality (1971). The band had multiple line-up changes following Osbourne's departure in 1979, with Iommi being the only constant member throughout its history.
After previous iterations of the group called the Polka Tulk Blues Band and Earth, the band settled on the name Black Sabbath in 1969. They distinguished themselves through occult themes with horror-inspired lyrics and down-tuned guitars. Signing to Philips Records in November 1969, they released their first single, "Evil Woman" in January 1970. Their debut album, Black Sabbath, was released the following month. Though it received a negative critical response, the album was a commercial success, leading to a follow-up record, Paranoid, later that year. The band's popularity grew, and by 1973's Sabbath Bloody Sabbath, critics were starting to respond favourably.
Osbourne's excessive substance abuse led to his firing in 1979. He was replaced by former Rainbow vocalist Ronnie James Dio. Following two albums with Dio, Black Sabbath endured many personnel changes in the 1980s and 1990s that included vocalists Ian Gillan, Glenn Hughes, Ray Gillen and Tony Martin, as well as several drummers and bassists. Martin, who replaced Gillen in 1987, was the second longest serving vocalist and recorded three albums with Black Sabbath before his dismissal in 1991. That same year, Iommi and Butler were rejoined by Dio and drummer Vinny Appice to record Dehumanizer (1992). After two more studio albums with Martin, who replaced Dio in 1993, the band's original line-up reunited in 1997 and released a live album Reunion the following year; they continued to tour occasionally until 2005. Other than various back catalogue reissues and compilation albums, as well as the Mob Rules-era lineup reunited as Heaven & Hell, there was no further activity under the Black Sabbath name for six years. They reunited in 2011 and released their final studio album and nineteenth overall, 13 (2013), which features all of the original members except Ward. During their farewell tour, the band played their final concert in their home city of Birmingham on 4 February 2017.
Black Sabbath have sold over 70 million records worldwide as of 2013, making them one of the most commercially successful heavy metal bands. They were ranked by MTV as the "Greatest Metal Band" of all time, and placed second in VH1's "100 Greatest Artists of Hard Rock" list. Rolling Stone magazine ranked them number 85 on their "100 Greatest Artists of All Time". Black Sabbath were inducted into the UK Music Hall of Fame in 2005 and the Rock and Roll Hall of Fame in 2006. They have also won two Grammy Awards for Best Metal Performance, and in 2019 the band were presented a Grammy Lifetime Achievement Award.
History
1968–1969: Formation and early days
Following the break-up of their previous band Mythology in 1968, guitarist Tony Iommi and drummer Bill Ward sought to form a heavy blues rock band in Aston, Birmingham. They enlisted bassist Geezer Butler and vocalist Ozzy Osbourne, who had played together in a band called Rare Breed, Osbourne having placed an advertisement in a local music shop: "OZZY ZIG Needs Gig – has own PA". The new group was initially named the Polka Tulk Blues Band, the name taken either from a brand of talcum powder or an Indian/Pakistani clothing shop; the exact origin is confused. The Polka Tulk Blues Band included slide guitarist Jimmy Phillips, a childhood friend of Osbourne's, and saxophonist Alan "Aker" Clarke. After shortening the name to Polka Tulk, the band again changed their name to Earth (which Osbourne hated) and continued as a four-piece without Phillips and Clarke. Iommi became concerned that Phillips and Clarke lacked the necessary dedication and were not taking the band seriously. Rather than asking them to leave, they instead decided to break up and then quietly reformed the band as a four-piece. While the band was performing under the Earth title, they recorded several demos written by Norman Haines such as "The Rebel", "Song for Jim", and "When I Came Down". The demo titled "Song for Jim" was in reference to Jim Simpson. Simpson was a manager for the bands Bakerloo Blues Line and Tea & Symphony, as well as being trumpet player for the group Locomotive. Simpson had recently started a new club named Henry's Blueshouse at The Crown Hotel in Birmingham and offered to let Earth play there after they agreed to waive the usual support band fee in return for free t-shirts. The audience response was positive and Simpson agreed to manage Earth.
In December 1968, Iommi abruptly left Earth to join Jethro Tull. Although his stint with the band would be short-lived, Iommi made an appearance with Jethro Tull on The Rolling Stones Rock and Roll Circus TV show. Unsatisfied with the direction of Jethro Tull, Iommi returned to Earth by the end of the month. "It just wasn't right, so I left", Iommi said. "At first I thought Tull were great, but I didn't much go for having a leader in the band, which was Ian Anderson's way. When I came back from Tull, I came back with a new attitude altogether. They taught me that to get on, you got to work for it."
While playing shows in England in 1969, the band discovered they were being mistaken for another English group named Earth. They decided to change their name again. A cinema across the street from the band's rehearsal room was showing the 1963 horror film Black Sabbath starring Boris Karloff and directed by Mario Bava. While watching people line up to see the film, Butler noted that it was "strange that people spend so much money to see scary movies". Following that, Osbourne and Butler wrote the lyrics for a song called "Black Sabbath", which was inspired by the work of horror and adventure-story writer Dennis Wheatley, along with a vision that Butler had of a black silhouetted figure standing at the foot of his bed. Making use of the musical tritone, also known as "the Devil's Interval", the song's ominous sound and dark lyrics pushed the band in a darker direction, a stark contrast to the popular music of the late 1960s, which was dominated by flower power, folk music, and hippie culture. Judas Priest frontman Rob Halford has called the track "probably the most evil song ever written". Inspired by the new sound, the band changed their name to Black Sabbath in August 1969, and made the decision to focus on writing similar material, in an attempt to create the musical equivalent of horror films.
1969–1971: Black Sabbath and Paranoid
The band's first show as Black Sabbath took place on 30 August 1969, in Workington, England. They were signed to Philips Records in November 1969, and released their first single, "Evil Woman" (a cover of a song by the band Crow), recorded at Trident Studios, through Philips subsidiary Fontana Records in January 1970. Later releases were handled by Philips' newly formed progressive rock label, Vertigo Records.
Black Sabbath's first major exposure came when the band appeared on John Peel's Top Gear radio show in 1969, performing "Black Sabbath", "N.I.B.", "Behind the Wall of Sleep", and "Sleeping Village" to a national audience in Great Britain shortly before recording of their first album commenced. Although the "Evil Woman" single failed to chart, the band were afforded two days of studio time in November to record their debut album with producer Rodger Bain. Iommi recalls recording live: "We thought 'We have two days to do it and one of the days is mixing.' So we played live. Ozzy was singing at the same time, we just put him in a separate booth and off we went. We never had a second run of most of the stuff."
Black Sabbath was released on Friday the 13th, February 1970, and reached number 8 in the UK Albums Chart. Following its U.S. and Canadian release in May 1970 by Warner Bros. Records, the album reached number 23 on the Billboard 200, where it remained for over a year. The album was given negative reviews by many critics. Lester Bangs dismissed it in a Rolling Stone review as "discordant jams with bass and guitar reeling like velocitised speedfreaks all over each other's musical perimeters, yet never quite finding synch". It sold in substantial numbers despite being panned, giving the band their first mainstream exposure. It has since been certified platinum in both U.S. by the Recording Industry Association of America (RIAA) and in the UK by British Phonographic Industry (BPI), and is now generally accepted as the first heavy metal album.
The band returned to the studio in June 1970, just four months after Black Sabbath was released. The new album was initially set to be named War Pigs after the song "War Pigs", which was critical of the Vietnam War; however, Warner changed the title of the album to Paranoid. The album's lead-off single, "Paranoid", was written in the studio at the last minute. Ward explains: "We didn't have enough songs for the album, and Tony just played the [Paranoid] guitar lick and that was it. It took twenty, twenty-five minutes from top to bottom." The single was released in September 1970 and reached number four on the UK Singles Chart, remaining Black Sabbath's only top ten hit. The album followed in the UK in October 1970, where, pushed by the success of the "Paranoid" single, it made number one in the UK Albums Chart.
The U.S. release was held off until January 1971, as the Black Sabbath album was still on the chart at the time of Paranoids UK release. The album reached No. 12 in the U.S. in March 1971, and would go on to sell four million copies in the U.S., with virtually no radio airplay. Like Black Sabbath, the album was panned by rock critics of the era, but modern-day reviewers such as AllMusic's Steve Huey cite Paranoid as "one of the greatest and most influential heavy metal albums of all time", which "defined the sound and style of heavy metal more than any other record in rock history". The album was ranked at No. 131 on Rolling Stone magazine's list of The 500 Greatest Albums of All Time. Paranoids chart success allowed the band to tour the U.S. for the first time (playing their first U.S. show at a club called Ungano's at 210 West 70th Street in New York City) and spawned the release of the album's second single "Iron Man". Although the single failed to reach the top 40, "Iron Man" remains one of Black Sabbath's most popular songs, as well as the band's highest charting U.S. single until 1998's "Psycho Man".
1971–1973: Master of Reality and Volume 4
In February 1971, after a one-off performance at the Myponga Pop Festival in Australia, Black Sabbath returned to the studio to begin work on their third album. Following the chart success of Paranoid, the band were afforded more studio time, along with a "briefcase full of cash" to buy drugs. "We were getting into coke, big time", Ward explained. "Uppers, downers, Quaaludes, whatever you like. It got to the stage where you come up with ideas and forget them, because you were just so out of it."
Production completed in April 1971, in July the band released Master of Reality, just six months after the U.S. release of Paranoid. The album reached the top ten in the U.S. and the United Kingdom, and was certified gold in less than two months, eventually receiving platinum certification in the 1980s and Double Platinum in the early 21st century. It contained Sabbath's first acoustic songs, alongside fan favourites such as "Children of the Grave" and "Sweet Leaf". Critical response of the era was generally unfavourable, with Lester Bangs delivering an ambivalent review of Master of Reality in Rolling Stone, describing the closing "Children of the Grave" as "naïve, simplistic, repetitive, absolute doggerel – but in the tradition [of rock'n'roll]... The only criterion is excitement, and Black Sabbath's got it". (In 2003, Rolling Stone would place the album at number 300 on their 500 Greatest Albums of All Time list.)
Following the Master of Reality world tour in 1972, Sabbath took its first break in three years. As Ward explained: "The band started to become very fatigued and very tired. We'd been on the road non-stop, year in and year out, constantly touring and recording. I think Master of Reality was kind of like the end of an era, the first three albums, and we decided to take our time with the next album."
In June 1972, the band reconvened in Los Angeles to begin work on their next album at the Record Plant. With more time in the studio, the album saw the band experimenting with new textures, such as strings, piano, orchestration and multi-part songs. Recording was plagued with problems, many as a result of substance abuse issues. Struggling to record the song "Cornucopia" after "sitting in the middle of the room, just doing drugs", Ward was nearly fired. "I hated the song, there were some patterns that were just... horrible," the drummer said. "I nailed it in the end, but the reaction I got was the cold shoulder from everybody. It was like 'Well, just go home, you're not being of any use right now.' I felt like I'd blown it, I was about to get fired". Butler thought that the end product "was very badly produced, as far as I was concerned. Our then-manager insisted on producing it, so he could claim production costs."
The album was originally titled Snowblind after the song of the same name, which deals with cocaine abuse. The record company changed the title at the last minute to Black Sabbath Vol. 4. Ward observed, "There was no Volume 1, 2 or 3, so it's a pretty stupid title really". Vol. 4 was released in September 1972 and, while critics were dismissive, it achieved gold status in less than a month, and was the band's fourth consecutive release to sell a million in the U.S. "Tomorrow's Dream" was released as a single – the band's first since "Paranoid" – but failed to chart.
Following an extensive tour of the U.S., in 1973 the band travelled again to Australia, followed by a tour for the first time to New Zealand, before moving onto mainland Europe. "The band were definitely in their heyday," recalled Ward, "in the sense that nobody had burnt out quite yet."
1973–1976: Sabbath Bloody Sabbath and Sabotage
Following the Volume 4 world tour, Black Sabbath returned to Los Angeles to begin work on their next release. Pleased with the Volume 4 album, the band sought to recreate the recording atmosphere, and returned to the Record Plant studio in Los Angeles. With new musical innovations of the era, the band were surprised to find that the room they had used previously at the Record Plant was replaced by a "giant synthesiser". The band rented a house in Bel Air and began writing in the summer of 1973, but in part because of substance issues and fatigue, they were unable to complete any songs. "Ideas weren't coming out the way they were on Volume 4 and we really got discontent" Iommi said. "Everybody was sitting there waiting for me to come up with something. I just couldn't think of anything. And if I didn't come up with anything, nobody would do anything."
After a month in Los Angeles with no results, the band opted to return to England. They rented Clearwell Castle in The Forest of Dean. "We rehearsed in the dungeons and it was really creepy but it had some atmosphere, it conjured up things, and stuff started coming out again." While working in the dungeon, Iommi stumbled onto the main riff of "Sabbath Bloody Sabbath", which set the tone for the new material. Recorded at Morgan Studios in London by Mike Butcher and building off the stylistic changes introduced on Volume 4, new songs incorporated synthesisers, strings, and complex arrangements. Yes keyboardist Rick Wakeman was brought in as a session player, appearing on "Sabbra Cadabra".
In November 1973, Black Sabbath began to receive positive reviews in the mainstream press after the release of Sabbath Bloody Sabbath, with Gordon Fletcher of Rolling Stone calling the album "an extraordinarily gripping affair", and "nothing less than a complete success." Later reviewers such as AllMusic's Eduardo Rivadavia cite the album as a "masterpiece, essential to any heavy metal collection", while also displaying "a newfound sense of finesse and maturity." The album marked the band's fifth consecutive platinum selling album in the U.S., reaching number four on the UK Albums Chart, and number eleven in the U.S.
The band began a world tour in January 1974, which culminated at the California Jam festival in Ontario, California, on 6 April 1974. Attracting over 200,000 fans, Black Sabbath appeared alongside popular 1970s rock and pop bands Deep Purple, Eagles, Emerson, Lake & Palmer, Rare Earth, Seals & Crofts, Black Oak Arkansas, and Earth, Wind & Fire. Portions of the show were telecast on ABC Television in the U.S., exposing the band to a wider American audience. In the same year, the band shifted management, signing with notorious English manager Don Arden. The move caused a contractual dispute with Black Sabbath's former management, and while on stage in the U.S., Osbourne was handed a subpoena that led to two years of litigation.
Black Sabbath began work on their sixth album in February 1975, again in England at Morgan Studios in Willesden, this time with a decisive vision to differ the sound from Sabbath, Bloody Sabbath. "We could've continued and gone on and on, getting more technical, using orchestras and everything else which we didn't particularly want to. We took a look at ourselves, and we wanted to do a rock album – Sabbath, Bloody Sabbath wasn't a rock album, really." Produced by Black Sabbath and Mike Butcher, Sabotage was released in July 1975. As with its precursor, the album initially saw favourable reviews, with Rolling Stone stating "Sabotage is not only Black Sabbath's best record since Paranoid, it might be their best ever", although later reviewers such as AllMusic noted that "the magical chemistry that made such albums as Paranoid and Volume 4 so special was beginning to disintegrate".
Sabotage reached the top 20 in both the U.S. and the United Kingdom, but was the band's first release not to achieve Platinum status in the U.S., only achieving Gold certification. Although the album's only single "Am I Going Insane (Radio)" failed to chart, Sabotage features fan favourites such as "Hole in the Sky", and "Symptom of the Universe". Black Sabbath toured in support of Sabotage with openers Kiss, but were forced to cut the tour short in November 1975, following a motorcycle accident in which Osbourne ruptured a muscle in his back. In December 1975, the band's record companies released a greatest hits album without input from the band, titled We Sold Our Soul for Rock 'n' Roll. The album charted throughout 1976, eventually selling two million copies in the U.S.
1976–1979: Technical Ecstasy, Never Say Die!, and Osbourne's departure
Black Sabbath began work for their next album at Criteria Studios in Miami, Florida, in June 1976. To expand their sound, the band added keyboard player Gerald Woodroffe, who also had appeared to a lesser extent on Sabotage. During the recording of Technical Ecstasy, Osbourne admits that he began losing interest in Black Sabbath and began to consider the possibility of working with other musicians. Recording of Technical Ecstasy was difficult; by the time the album was completed Osbourne was admitted to Stafford County Asylum in Britain. It was released on 25 September 1976 to mixed reviews, and (for the first time) later music critics gave the album less favourable retrospective reviews; two decades after its release AllMusic gave the album two stars, and noted that the band was "unravelling at an alarming rate". The album featured less of the doomy, ominous sound of previous efforts, and incorporated more synthesisers and uptempo rock songs. Technical Ecstasy failed to reach the top 50 in the U.S., and was the band's second consecutive release not to achieve platinum status, although it was later certified gold in 1997. The album included "Dirty Women", which remains a live staple, as well as Ward's first lead vocal on the song "It's Alright". Touring in support of Technical Ecstasy began in November 1976, with openers Boston and Ted Nugent in the U.S., and completed in Europe with AC/DC in April 1977.
In late 1977, while in rehearsal for their next album, and just days before the band was set to enter the studio, Osbourne abruptly quit the band. Iommi called vocalist Dave Walker, a longtime friend of the band, who had previously been a member of Fleetwood Mac and Savoy Brown, and informed him that Osbourne had left the band. Walker, who was at that time fronting a band called Mistress, flew to Birmingham from California in late 1977 to write material and rehearse with Black Sabbath. On 8 January 1978, Black Sabbath made their only live performance with Walker on vocals, playing an early version of the song "Junior's Eyes" on the BBC Television programme "Look! Hear!" Walker later recalled that while in Birmingham he had bumped into Osbourne in a pub and came to the conclusion that Osbourne was not fully committed to leaving Black Sabbath. "The last Sabbath albums were just very depressing for me", Osbourne said. "I was doing it for the sake of what we could get out of the record company, just to get fat on beer and put a record out." Walker has said that he wrote a lot of lyrics during his brief time in the band but none of them were ever used. If any recordings of this version of the band other than the "Look! Hear!" footage still exist, Walker says that he is not aware of them.
Osbourne initially set out to form a solo project featuring former Dirty Tricks members John Frazer-Binnie, Terry Horbury, and Andy Bierne. As the new band were in rehearsals in January 1978, Osbourne had a change of heart and rejoined Black Sabbath. "Three days before we were due to go into the studio, Ozzy wanted to come back to the band", Iommi explained. "He wouldn't sing any of the stuff we'd written with the other guy (Walker), so it made it very difficult. We went into the studio with basically no songs. We'd write in the morning so we could rehearse and record at night. It was so difficult, like a conveyor belt, because you couldn't get time to reflect on stuff. 'Is this right? Is this working properly?' It was very difficult for me to come up with the ideas and putting them together that quick."
The band spent five months at Sounds Interchange Studios in Toronto, Ontario, Canada, writing and recording what would become Never Say Die!. "It took quite a long time", Iommi said. "We were getting really drugged out, doing a lot of dope. We'd go down to the sessions, and have to pack up because we were too stoned, we'd have to stop. Nobody could get anything right, we were all over the place, everybody's playing a different thing. We'd go back and sleep it off, and try again the next day." The album was released in September 1978, reaching number twelve in the United Kingdom, and number 69 in the U.S. Press response was unfavourable and did not improve over time with Eduardo Rivadavia of AllMusic stating two decades after its release that the album's "unfocused songs perfectly reflected the band's tense personnel problems and drug abuse." The album featured the singles "Never Say Die" and "Hard Road", both of which cracked the top 40 in the United Kingdom. The band also made their second appearance on the BBC's Top of the Pops, performing "Never Say Die". It took nearly 20 years for the album to be certified Gold in the U.S.
Touring in support of Never Say Die! began in May 1978 with openers Van Halen. Reviewers called Black Sabbath's performance "tired and uninspired", a stark contrast to the "youthful" performance of Van Halen, who were touring the world for the first time. The band filmed a performance at the Hammersmith Odeon in June 1978, which was later released on DVD as Never Say Die. The final show of the tour, and Osbourne's last appearance with the band (until later reunions) was in Albuquerque, New Mexico on 11 December.
Following the tour, Black Sabbath returned to Los Angeles and again rented a house in Bel Air, where they spent nearly a year working on new material for the next album. The entire band were abusing both alcohol and other drugs, but Iommi says Osbourne "was on a totally different level altogether". The band would come up with new song ideas but Osbourne showed little interest and would refuse to sing them. Pressure from the record label and frustrations with Osbourne's lack of input coming to a head, Iommi made the decision to fire Osbourne in 1979. Iommi believed the only options available were to fire Osbourne or break the band up completely. "At that time, Ozzy had come to an end", Iommi said. "We were all doing a lot of drugs, a lot of coke, a lot of everything, and Ozzy was getting drunk so much at the time. We were supposed to be rehearsing and nothing was happening. It was like 'Rehearse today? No, we'll do it tomorrow.' It really got so bad that we didn't do anything. It just fizzled out." Drummer Ward, who was close with Osbourne, was chosen by Tony to break the news to the singer on 27 April 1979. "I hope I was professional, I might not have been, actually. When I'm drunk I am horrible, I am horrid", Ward said. "Alcohol was definitely one of the most damaging things to Black Sabbath. We were destined to destroy each other. The band were toxic, very toxic."
1979–1982: Dio joins, Heaven and Hell, and Mob Rules
Sharon Arden (later Sharon Osbourne), daughter of Black Sabbath manager Don Arden, suggested former Rainbow vocalist Ronnie James Dio to replace Ozzy Osbourne in 1979. Don Arden was at this point still trying to convince Osbourne to rejoin the band, as he viewed the original line-up as the most profitable. Dio officially joined in June, and the band began writing their next album. With a notably different vocal style from Osbourne's, Dio's addition to the band marked a change in Black Sabbath's sound. "They were totally different altogether", Iommi explains. "Not only voice-wise, but attitude-wise. Ozzy was a great showman, but when Dio came in, it was a different attitude, a different voice and a different musical approach, as far as vocals. Dio would sing across the riff, whereas Ozzy would follow the riff, like in "Iron Man". Ronnie came in and gave us another angle on writing."
Geezer Butler temporarily left the band in September 1979 for personal reasons. According to Dio, the band initially hired Craig Gruber (with whom Dio had previously played while in Elf) on bass to assist with writing the new album. Gruber was soon replaced by Geoff Nicholls of Quartz. The new line-up returned to Criteria Studios in November to begin recording work, with Butler returning to the band in January 1980, and Nicholls moving to keyboards. Produced by Martin Birch, Heaven and Hell was released on 25 April 1980, to critical acclaim. Over a decade after its release AllMusic said the album was "one of Sabbath's finest records, the band sounds reborn and re-energised throughout". Heaven and Hell peaked at number 9 in the United Kingdom, and number 28 in the U.S., the band's highest charting album since Sabotage. The album eventually sold a million copies in the U.S., and the band embarked on an extensive world tour, making their first live appearance with Dio in Germany on 17 April 1980.
Black Sabbath toured the U.S. throughout 1980 with Blue Öyster Cult on the "Black and Blue" tour, with a show at Nassau Coliseum in Uniondale, New York filmed and released theatrically in 1981 as Black and Blue. On 26 July 1980, the band played to 75,000 fans at a sold-out Los Angeles Memorial Coliseum with Journey, Cheap Trick, and Molly Hatchet. The next day, the band appeared at the 1980 Day on the Green at Oakland Coliseum. While on tour, Black Sabbath's former label in England issued a live album culled from a seven-year-old performance, titled Live at Last without any input from the band. The album reached number five on the UK chart, and saw the re-release of "Paranoid" as a single, which reached the top 20.
On 18 August 1980, after a show in Minneapolis, Ward quit the band. "It was intolerable for me to get on the stage without Ozzy. And I drank 24 hours a day, my alcoholism accelerated". Geezer Butler stated that after Ward's final show, the drummer came in drunk, stating that "He might as well be a Martian". Ward then got angry, packed his things and got on a bus to leave. Following Ward's sudden departure, the group hired drummer Vinny Appice. Further trouble for the band came during their 9 October 1980 concert at the Milwaukee Arena, which degenerated into a riot causing $10,000 in damages to the arena and resulted in 160 arrests. According to the Associated Press, "the crowd of mostly adolescent males first became rowdy in a performance by the Blue Oyster Cult" and then grew restless while waiting an hour for Black Sabbath to begin playing. A member of the audience threw a beer bottle that struck bassist Butler and effectively ended the show. "The band then abruptly halted its performance and began leaving" as the crowd rioted.
The band completed the Heaven and Hell world tour in February 1981, and returned to the studio to begin work on their next album. Black Sabbath's second studio album produced by Martin Birch and featuring Ronnie James Dio as vocalist Mob Rules was released in October 1981, to be well received by fans, but less so by the critics. Rolling Stone reviewer J. D. Considine gave the album one star, claiming "Mob Rules finds the band as dull-witted and flatulent as ever". Like most of the band's earlier work, time helped to improve the opinions of the music press, a decade after its release, AllMusic's Eduardo Rivadavia called Mob Rules "a magnificent record". The album was certified gold, and reached the top 20 on the UK chart. The album's title track "The Mob Rules", which was recorded at John Lennon's old house in England, also featured in the 1981 animated film Heavy Metal, although the film version is an alternate take, and differs from the album version.
Unhappy with the quality of 1980's Live at Last, the band recorded another live album—titled Live Evil—during the Mob Rules world tour, across the United States in Dallas, San Antonio, and Seattle, in 1982. During the mixing process for the album, Iommi and Butler had a falling out with Dio. Misinformed by their then-current mixing engineer, Iommi and Butler accused Dio of sneaking into the studio at night to raise the volume of his vocals.<ref>{{cite web|last=Marszalek|first=Julian|title=Black Sabbath's Tony Iommi Recalls the 'Heaven and Hell Era|url=http://www.spinner.com/2010/04/02/black-sabbath-tony-iommi-interview/|archive-url=https://web.archive.org/web/20120320015547/http://www.spinner.com/2010/04/02/black-sabbath-tony-iommi-interview/|url-status=dead|archive-date=20 March 2012|publisher=spinner.com|access-date=26 January 2019}}</ref> In addition, Dio was not satisfied with the pictures of him in the artwork. Butler also accused Dio and Appice of working on a solo album during the album's mixing without telling the other members of Black Sabbath. "Ronnie wanted more say in things," Iommi said. "And Geezer would get upset with him and that is where the rot set in. Live Evil is when it all fell apart. Ronnie wanted to do more of his own thing, and the engineer we were using at the time in the studio didn't know what to do, because Ronnie was telling him one thing and we were telling him another. At the end of the day, we just said, 'That's it, the band is over'". "When it comes time for the vocal, nobody tells me what to do. Nobody! Because they're not as good as me, so I do what I want to do," Dio later said. "I refuse to listen to Live Evil, because there are too many problems. If you look at the credits, the vocals and drums are listed off to the side. Open up the album and see how many pictures there are of Tony, and how many there are of me and Vinny".
Ronnie James Dio left Black Sabbath in November 1982 to start his own band, and took drummer Vinny Appice with him. Live Evil was released in January 1983, but was overshadowed by Ozzy Osbourne's platinum selling album Speak of the Devil.
1982–1984: Gillan as singer and Born Again
The remaining original members, Iommi and Butler, began auditioning singers for the band's next release. Deep Purple and Whitesnake's David Coverdale, Samson's Nicky Moore and Lone Star's John Sloman were all considered and Iommi states in his autobiography that Michael Bolton auditioned. The band settled on former Deep Purple vocalist Ian Gillan to replace Dio in December 1982. The project was initially not to be called Black Sabbath, but pressure from the record label forced the group to retain the name. The band entered The Manor Studios in Shipton-on-Cherwell, Oxfordshire, in June 1983 with a returned and newly sober Bill Ward on drums. "That was the very first album that I ever did clean and sober," Ward recalled. "I only got drunk after I finished all my work on the album – which wasn't a very good idea... Sixty to seventy per cent of my energy was taken up on learning how to get through the day without taking a drink and learning how to do things without drinking, and thirty per cent of me was involved in the album."Born Again (7 August 1983) was panned on release by critics. Despite this negative reception, it reached number four in the UK, and number 39 in the U.S. Even three decades after its release, AllMusic's Eduardo Rivadavia called the album "dreadful", noting that "Gillan's bluesy style and humorous lyrics were completely incompatible with the lords of doom and gloom".
Unable to tour because of the pressures of the road, Ward quit the band. "I fell apart with the idea of touring," he later explained. "I got so much fear behind touring, I didn't talk about the fear, I drank behind the fear instead and that was a big mistake." He was replaced by former Electric Light Orchestra drummer Bev Bevan for the Born Again '83–'84 world tour, (often unofficially referred to as the 'Feighn Death Sabbath '83–'84' World Tour) which began in Europe with Diamond Head, and later in the U.S. with Quiet Riot and Night Ranger. The band headlined the 1983 Reading Festival in England, adding Deep Purple's "Smoke on the Water" to their encore.
The tour in support of Born Again included a giant set of the Stonehenge monument. In a move later parodied in the mockumentary This Is Spinal Tap, the band made a mistake in ordering the set piece. Butler explained:
1984–1987: Hiatus, Hughes as singer, Seventh Star, and Gillen as singer
Following the completion of the Born Again tour in March 1984, vocalist Ian Gillan left Black Sabbath to re-join Deep Purple, which was reforming after a long hiatus. Bevan left at the same time, and Gillan remarked that he and Bevan were made to feel like "hired help" by Iommi. The band then recruited an unknown Los Angeles vocalist named David Donato and Ward once again rejoined the band. The new line-up wrote and rehearsed throughout 1984, and eventually recorded a demo with producer Bob Ezrin in October. Unhappy with the results, the band parted ways with Donato shortly after. Disillusioned with the band's revolving line-up, Ward left shortly after stating "This isn't Black Sabbath". Butler would quit Sabbath next in November 1984 to form a solo band. "When Ian Gillan took over that was the end of it for me," he said. "I thought it was just a joke and I just totally left. When we got together with Gillan it was not supposed to be a Black Sabbath album. After we had done the album we gave it to Warner Bros. and they said they were going to put it out as a Black Sabbath album and we didn't have a leg to stand on. I got really disillusioned with it and Gillan was really pissed off about it. That lasted one album and one tour and then that was it."
One vocalist whose status is disputed, both inside and outside Sabbath, is Christian evangelist and former Joshua frontman Jeff Fenholt. Fenholt insists he was a singer in Sabbath between January and May 1985. Iommi has never confirmed this. Fenholt gives a detailed account in Garry Sharpe-Young's book Sabbath Bloody Sabbath: The Battle for Black Sabbath.
Following both Ward's and Butler's exits, sole remaining original member Iommi put Sabbath on hiatus, and began work on a solo album with long-time Sabbath keyboardist Geoff Nicholls. While working on new material, the original Sabbath line-up agreed to a spot at Bob Geldof's Live Aid, performing at the Philadelphia show on 13 July 1985. This event – which also featured reunions of The Who and Led Zeppelin – marked the first time the original line-up had appeared on stage since 1978. "We were all drunk when we did Live Aid," recalled Geezer Butler, "but we'd all got drunk separately."
Returning to his solo work, Iommi enlisted bassist Dave Spitz (ex-Great White), drummer Eric Singer and initially intended to use multiple singers, including Rob Halford of Judas Priest, former Deep Purple and Trapeze vocalist Glenn Hughes, and former Sabbath vocalist Ronnie James Dio. This plan didn't work as he forecasted. "We were going to use different vocalists on the album, guest vocalists, but it was so difficult getting it together and getting releases from their record companies. Glenn Hughes came along to sing on one track and we decided to use him on the whole album."
The band spent the remainder of the year in the studio, recording what would become Seventh Star (1986). Warner Bros. refused to release the album as a Tony Iommi solo release, instead insisting on using the name Black Sabbath. Pressured by the band's manager, Don Arden, the two compromised and released the album as "Black Sabbath featuring Tony Iommi" in January 1986. "It opened up a whole can of worms," Iommi explained. "If we could have done it as a solo album, it would have been accepted a lot more." Seventh Star sounded little like a Sabbath album, incorporating instead elements popularised by the 1980s Sunset Strip hard rock scene. It was panned by the critics of the era, although later reviewers such as AllMusic gave album verdicts, calling the album "often misunderstood and underrated".
The new line-up rehearsed for six weeks preparing for a full world tour, although the band were eventually forced to use the Sabbath name. "I was into the 'Tony Iommi project', but I wasn't into the Black Sabbath moniker," Hughes said. "The idea of being in Black Sabbath didn't appeal to me whatsoever. Glenn Hughes singing in Black Sabbath is like James Brown singing in Metallica. It wasn't gonna work." Just four days before the start of the tour, Hughes got into a bar fight with the band's production manager John Downing which splintered the singer's orbital bone. The injury interfered with Hughes' ability to sing, and the band brought in vocalist Ray Gillen to continue the tour with W.A.S.P. and Anthrax, although nearly half of the U.S. dates would be cancelled because of poor ticket sales.
Black Sabbath began work on new material in October 1986 at Air Studios in Montserrat with producer Jeff Glixman. The recording was fraught with problems from the beginning, as Glixman left after the initial sessions to be replaced by producer Vic Coppersmith-Heaven. Bassist Dave Spitz quit over "personal issues", and former Rainbow and Ozzy Osbourne bassist Bob Daisley was brought in. Daisley re-recorded all of the bass tracks, and wrote the album's lyrics, but before the album was complete, he left to join Gary Moore's backing band, taking drummer Eric Singer with him. After problems with second producer Coppersmith-Heaven, the band returned to Morgan Studios in England in January 1987 to work with new producer Chris Tsangarides. While working in the United Kingdom, new vocalist Ray Gillen abruptly left Black Sabbath to form Blue Murder with guitarist John Sykes (ex-Tygers of Pan Tang, Thin Lizzy, Whitesnake).
1987–1990: Martin joins, The Eternal Idol, Headless Cross, and Tyr
The band enlisted heavy metal vocalist Tony Martin to re-record Gillen's tracks, and former Electric Light Orchestra drummer Bev Bevan to complete a few percussion overdubs. Before the release of the new album Black Sabbath accepted an offer to play six shows at Sun City, South Africa during the apartheid era. The band drew criticism from activists and artists involved with Artists United Against Apartheid, who had been boycotting South Africa since 1985. Drummer Bev Bevan refused to play the shows, and was replaced by Terry Chimes, formerly of the Clash.
After nearly a year in production, The Eternal Idol was released on 8 December 1987 and ignored by contemporary reviewers. On-line internet era reviews were mixed. AllMusic said that "Martin's powerful voice added new fire" to the band, and the album contained "some of Iommi's heaviest riffs in years." Blender gave the album two stars, claiming the album was "Black Sabbath in name only". The album would stall at No. 66 in the United Kingdom, while peaking at 168 in the U.S. The band toured in support of Eternal Idol in Germany, Italy and for the first time, Greece. In part due to a backlash from promoters over the South Africa incident, other European shows were cancelled. Bassist Dave Spitz left the band shortly before the tour, and was replaced by Jo Burt, formerly of Virginia Wolf.
Following the poor commercial performance of The Eternal Idol, Black Sabbath were dropped by both Vertigo Records and Warner Bros. Records, and signed with I.R.S. Records. The band took time off in 1988, returning in August to begin work on their next album. As a result of the recording troubles with Eternal Idol, Tony Iommi opted to produce the band's next album himself. "It was a completely new start", Iommi said. "I had to rethink the whole thing, and decided that we needed to build up some credibility again". Iommi enlisted former Rainbow drummer Cozy Powell, long-time keyboardist Nicholls and session bassist Laurence Cottle, and rented a "very cheap studio in England".
Black Sabbath released Headless Cross in April 1989, and it was also ignored by contemporary reviewers, although AllMusic contributor Eduardo Rivadavia gave the album four stars and called it "the finest non-Ozzy or Dio Black Sabbath album". Anchored by the number 62 charting single "Headless Cross", the album reached number 31 on the UK chart, and number 115 in the U.S. Queen guitarist Brian May, a good friend of Iommi's, played a guest solo on the song "When Death Calls". Following the album's release the band added touring bassist Neil Murray, formerly of Colosseum II, National Health, Whitesnake, Gary Moore's backing band, and Vow Wow.
The unsuccessful Headless Cross U.S. tour began in May 1989 with openers Kingdom Come and Silent Rage, but because of poor ticket sales, the tour was cancelled after just eight shows. The European leg of the tour began in September, where the band were enjoying chart success. After a string of Japanese shows the band embarked on a 23 date Russian tour with Girlschool. Black Sabbath was one of the first bands to tour Russia, after Mikhail Gorbachev opened the country to western acts for the first time in 1989.
The band returned to the studio in February 1990 to record Tyr, the follow-up to Headless Cross. While not technically a concept album, some of the album's lyrical themes are loosely based on Norse mythology. Tyr was released on 6 August 1990, reaching number 24 on the UK albums chart, but was the first Black Sabbath release not to break the Billboard 200 in the U.S. The album would receive mixed internet-era reviews, with AllMusic noting that the band "mix myth with metal in a crushing display of musical synthesis", while Blender gave the album just one star, claiming that "Iommi continues to besmirch the Sabbath name with this unremarkable collection". The band toured in support of Tyr with Circus of Power in Europe, but the final seven United Kingdom dates were cancelled because of poor ticket sales. For the first time in their career, the band's touring cycle did not include U.S. dates.
1990–1992: Dio rejoins and Dehumanizer
While on his Lock Up the Wolves U.S. tour in August 1990, former Sabbath vocalist Ronnie James Dio was joined onstage at the Roy Wilkins Auditorium by Geezer Butler to perform "Neon Knights". Following the show, the two expressed interest in rejoining Sabbath. Butler convinced Iommi, who in turn broke up the current lineup, dismissing vocalist Tony Martin and bassist Neil Murray. "I do regret that in a lot of ways," Iommi said. "We were at a good point then. We decided to [reunite with Dio] and I don't even know why, really. There's the financial aspect, but that wasn't it. I seemed to think maybe we could recapture something we had."
Dio and Butler joined Iommi and Cozy Powell in autumn 1990 to begin the next Sabbath release. While rehearsing in November, Powell suffered a broken hip when his horse died and fell on the drummer's legs. Unable to complete the album, Powell was replaced by former drummer Vinny Appice, reuniting the Mob Rules lineup, and the band entered the studio with producer Reinhold Mack. The year-long recording was plagued with problems, primarily stemming from writing tension between Iommi and Dio. Songs were rewritten multiple times. "It was just hard work," Iommi said. "We took too long on it, that album cost us a million dollars, which is bloody ridiculous." Dio recalled the album as difficult, but worth the effort: "It was something we had to really wring out of ourselves, but I think that's why it works. Sometimes you need that kind of tension, or else you end up making the Christmas album".
The resulting Dehumanizer was released on 22 June 1992. In the U.S., the album was released on 30 June 1992 by Reprise Records, as Dio and his namesake band were still under contract to the label at the time. While the album received mixed , it was the band's biggest commercial success in a decade. Anchored by the top 40 rock radio single "TV Crimes", the album peaked at number 44 on the Billboard 200. The album also featured "Time Machine", a version of which had been recorded for the 1992 film Wayne's World. Additionally, the perception among fans of a return of some semblance of the "real" Sabbath provided the band with much needed momentum.
Sabbath began touring in support of Dehumanizer in July 1992 with Testament, Danzig, Prong, and Exodus. While on tour, former vocalist Ozzy Osbourne announced his first retirement, and invited Sabbath to open for his solo band at the final two shows of his No More Tours tour in Costa Mesa, California. The band agreed, aside from Dio, who told Iommi, "I'm not doing that. I'm not supporting a clown." Dio spoke of the situation years later:
Dio quit Sabbath following a show in Oakland, California on 13 November 1992, one night before the band were set to appear at Osbourne's retirement show. Judas Priest vocalist Rob Halford stepped in at the last minute, performing two nights with the band. Iommi and Butler joined Osbourne and former drummer Ward on stage for the first time since 1985's Live Aid concert, performing a brief set of Sabbath songs. This set the stage for a longer-term reunion of the original lineup, though that plan proved short-lived. "Ozzy, Geezer, Tony and Bill announced the reunion of Black Sabbath – again," remarked Dio. "And I thought that it was a great idea. But I guess Ozzy didn't think it was such a great idea… I'm never surprised when it comes to whatever happens with them. Never at all. They are very predictable. They don't talk."
1992–1997: Martin rejoins, Cross Purposes, and Forbidden
Drummer Vinny Appice left the band following the reunion show to rejoin Ronnie James Dio's solo band, later appearing on Dio's Strange Highways and Angry Machines. Iommi and Butler enlisted former Rainbow drummer Bobby Rondinelli, and reinstated former vocalist Tony Martin. The band returned to the studio to work on new material, although the project was not originally intended to be released under the Black Sabbath name. As Geezer Butler explains:
Under pressure from their record label, the band released their seventeenth studio album, Cross Purposes, on 8 February 1994, under the Black Sabbath name. The album received mixed reviews, with Blender giving the album two stars, calling Soundgarden's 1994 album Superunknown "a far better Sabbath album than this by-the-numbers potboiler". AllMusic's Bradley Torreano called Cross Purposes "the first album since Born Again that actually sounds like a real Sabbath record". The album just missed the Top 40 in the UK reaching number 41, and also reached 122 on the Billboard 200 in the U.S. Cross Purposes contained the song "Evil Eye", which was co-written by Van Halen guitarist Eddie Van Halen, although uncredited because of record label restrictions. Touring in support of Cross Purposes began in February with Morbid Angel and Motörhead in the U.S. The band filmed a live performance at the Hammersmith Apollo on 13 April 1994, which was released on VHS accompanied by a CD, titled Cross Purposes Live. After the European tour with Cathedral and Godspeed in June 1994, drummer Bobby Rondinelli quit the band and was replaced by original Black Sabbath drummer Ward for five shows in South America.
Following the touring cycle for Cross Purposes, bassist Geezer Butler quit the band for the second time. "I finally got totally disillusioned with the last Sabbath album, and I much preferred the stuff I was writing to the stuff Sabbath were doing". Butler formed a solo project called GZR, and released Plastic Planet in 1995. The album contained the song "Giving Up the Ghost", which was critical of Tony Iommi for carrying on with the Black Sabbath name, with the lyrics: You plagiarised and parodied / the magic of our meaning / a legend in your own mind / left all your friends behind / you can't admit that you're wrong / the spirit is dead and gone ("I heard it's something about me..." said Iommi. "I had the album given to me a while back. I played it once, then somebody else had it, so I haven't really paid any attention to the lyrics... It's nice to see him doing his own thing – getting things off his chest. I don't want to get into a rift with Geezer. He's still a friend."
Following Butler's departure, newly returned drummer Ward once again left the band. Iommi reinstated former members Neil Murray on bass and Cozy Powell on drums, effectively reuniting the 1990 Tyr line-up. The band enlisted Body Count guitarist Ernie C to produce the new album, which was recorded in London in autumn of 1994. The album featured a guest vocal on "Illusion of Power" by Body Count vocalist Ice-T. The resulting Forbidden was released on 8 June 1995, but failed to chart in the U.S. The album was widely panned by critics; AllMusic's Bradley Torreano said "with boring songs, awful production, and uninspired performances, this is easily avoidable for all but the most enthusiastic fan"; while Blender magazine called Forbidden "an embarrassment... the band's worst album".
Black Sabbath embarked on a world tour in July 1995 with openers Motörhead and Tiamat, but two months into the tour, drummer Cozy Powell left the band, citing health issues, and was replaced by former drummer Bobby Rondinelli. "The members I had in the last lineup – Bobby Rondinelli, Neil Murray – they're great, great characters..." Iommi told Sabbath fanzine Southern Cross. "That, for me, was an ideal lineup. I wasn't sure vocally what we should do, but Neil Murray and Bobby Rondinelli I really got on well with."
After completing Asian dates in December 1995, Tony Iommi put the band on hiatus, and began work on a solo album with former Black Sabbath vocalist Glenn Hughes, and former Judas Priest drummer Dave Holland. The album was not officially released following its completion, although a widely traded bootleg called Eighth Star surfaced soon after. The album was officially released in 2004 as The 1996 DEP Sessions, with Holland's drums re-recorded by session drummer Jimmy Copley.
In 1997, Tony Iommi disbanded the current line-up to officially reunite with Ozzy Osbourne and the original Black Sabbath line-up. Vocalist Tony Martin claimed that an original line-up reunion had been in the works since the band's brief reunion at Ozzy Osbourne's 1992 Costa Mesa show, and that the band released subsequent albums to fulfill their record contract with I.R.S. Records. Martin later recalled Forbidden (1995) as a "filler album that got the band out of the label deal, rid of the singer, and into the reunion. However I wasn't privy to that information at the time". I.R.S. Records released a compilation album in 1996 to fulfill the band's contract, titled The Sabbath Stones, which featured songs from Born Again (1983) to Forbidden (1995).
1997–2006: Osbourne rejoins and Reunion
In the summer of 1997, Iommi, Butler and Osbourne reunited to coheadline the Ozzfest tour alongside Osbourne's solo band. The line-up featured Osbourne's drummer Mike Bordin filling in for Ward. "It started off with me going off to join Ozzy for a couple of numbers," explained Iommi, "and then it got into Sabbath doing a short set, involving Geezer. And then it grew as it went on… We were concerned in case Bill couldn't make it – couldn't do it – because it was a lot of dates, and important dates… The only rehearsal that we had to do was for the drummer. But I think if Bill had come in, it would have took a lot more time. We would have had to focus a lot more on him."
In December 1997, the group was joined by Ward, marking the first reunion of the original quartet since Osbourne's 1992 "retirement show". This lineup recorded two shows at the Birmingham NEC, released as the double album Reunion on 20 October 1998. The album reached number eleven on the Billboard 200, went platinum in the U.S. and spawned the single "Iron Man", which won Sabbath their first Grammy Award in 2000 for Best Metal Performance, 30 years after the song was originally released. Reunion featured two new studio tracks, "Psycho Man" and "Selling My Soul", both of which cracked the top 20 of the Billboard Mainstream Rock Tracks chart.
Shortly before a European tour in the summer of 1998, Ward suffered a heart attack and was temporarily replaced by former drummer Vinny Appice. Ward returned for a U.S. tour with openers Pantera, which began in January 1999 and continued through the summer, headlining the annual Ozzfest tour. Following these appearances, the band was put on hiatus while members worked on solo material. Iommi released his first official solo album, Iommi, in 2000, while Osbourne continued work on Down to Earth (2001).
Sabbath returned to the studio to work on new material with all four original members and producer Rick Rubin in the spring of 2001, but the sessions were halted when Osbourne was called away to finish tracks for his solo album in the summer. "It just came to an end…" Iommi said. "It's a shame because [the songs] were really Iommi commented on the difficulty getting all the members together to work:
In March 2002, Osbourne's Emmy-winning reality show The Osbournes debuted on MTV, and quickly became a worldwide hit. The show introduced Osbourne to a broader audience and to capitalise, the band's back catalogue label, Sanctuary Records released a double live album Past Lives (2002), which featured concert material recorded in the 1970s, including the Live at Last (1980) album. The band remained on hiatus until the summer of 2004 when they returned to headline Ozzfest 2004 and 2005. In November 2005, Black Sabbath were inducted into the UK Music Hall of Fame, and in March 2006, after eleven years of eligibility—Osbourne famously refused the Hall's "meaningless" initial nomination in 1999—the band were inducted into the U.S. Rock and Roll Hall of Fame. At the awards ceremony Metallica played two Sabbath songs, "Hole in the Sky" and "Iron Man" in tribute.
2006–2010: The Dio Years and Heaven & Hell
While Ozzy Osbourne was working on new solo album material in 2006, Rhino Records released Black Sabbath: The Dio Years, a compilation of songs culled from the four Black Sabbath releases featuring Ronnie James Dio. For the release, Iommi, Butler, Dio, and Appice reunited to write and record three new songs as Black Sabbath. The Dio Years was released on 3 April 2007, reaching number 54 on the Billboard 200, while the single "The Devil Cried" reached number 37 on the Mainstream Rock Tracks chart. Pleased with the results, Iommi and Dio decided to reunite the Dio era line-up for a world tour. While the line-up of Osbourne, Butler, Iommi, and Ward was still officially called Black Sabbath, the new line-up opted to call themselves Heaven & Hell, after the album of the same title, to avoid confusion. When asked about the name of the group, Iommi stated "it really is Black Sabbath, whatever we do... so everyone knows what they're getting [and] so people won't expect to hear 'Iron Man' and all those songs. We've done them for so many years, it's nice to do just all the stuff we did with Ronnie again."
Ward was initially set to participate, but dropped out before the tour began due to musical differences with "a couple of the band members". He was replaced by former drummer Vinny Appice, effectively reuniting the line-up that had featured on the Mob Rules (1981) and Dehumanizer (1992) albums.
Heaven & Hell toured the U.S. with openers Megadeth and Machine Head, and recorded a live album and DVD in New York on 30 March 2007, titled Live from Radio City Music Hall. In November 2007, Dio confirmed that the band had plans to record a new studio album, which was recorded in the following year. In April 2008 the band announced the upcoming release of a new box set and their participation in the Metal Masters Tour, alongside Judas Priest, Motörhead and Testament. The box set, The Rules of Hell, featuring remastered versions of all the Dio fronted Black Sabbath albums, was supported by the Metal Masters Tour. In 2009, the band announced the title of their debut studio album, The Devil You Know, released on 28 April.
On 26 May 2009, Osbourne filed suit in a federal court in New York against Iommi alleging that he illegally claimed the band name. Iommi noted that he has been the only constant band member for its full 41-year career and that his bandmates relinquished their rights to the name in the 1980s, therefore claiming more rights to the name of the band. Although in the suit, Osbourne was seeking 50% ownership of the trademark, he said that he hoped the proceedings would lead to equal ownership among the four original members.
In March 2010, Black Sabbath announced that along with Metallica they would be releasing a limited edition single together to celebrate Record Store Day. It was released on 17 April 2010. Ronnie James Dio died on 16 May 2010 from stomach cancer. In June 2010, the legal battle between Ozzy Osbourne and Tony Iommi over the trademarking of the Black Sabbath name ended, but the terms of the settlement have not been disclosed.
2010–2014: Second Osbourne reunion and 13
In a January 2010 interview while promoting his biography I Am Ozzy, Osbourne stated that although he would not rule it out, he was doubtful there would be a reunion with all four original members of the band. Osbourne stated: "I'm not gonna say I've written it out forever, but right now I don't think there's any chance. But who knows what the future holds for me? If it's my destiny, fine." In July, Butler said that there would be no reunion in 2011, as Osbourne was already committed to touring with his solo band. However, by that August they had already met up to rehearse together, and continued to do so through the autumn.
On 11 November 2011, Iommi, Butler, Osbourne, and Ward announced that they were reuniting to record a new album with a full tour in support beginning in 2012. Guitarist Iommi was diagnosed with lymphoma on 9 January 2012, which forced the band to cancel all but two shows (Download Festival, and Lollapalooza Festival) of a previously booked European tour. It was later announced that an intimate show would be played in their hometown Birmingham. It was the first concert since the reunion and the only indoors concerts that year. In February 2012, drummer Ward announced that he would not participate further in the band's reunion until he was offered a "signable contract".
On 21 May 2012, at the O2 Academy in Birmingham, Black Sabbath played their first concert since 2005, with Tommy Clufetos playing the drums. In June, they performed at the Download Festival at the Donington Park motorsports circuit in Leicestershire, England, followed by the last concert of the short tour at Lollapalooza Festival in Chicago. Later that month, the band started recording an album.
On 13 January 2013, the band announced that the album would be released in June under the title 13. Brad Wilk of Rage Against the Machine was chosen as the drummer, and Rick Rubin was chosen as the producer. Mixing of the album commenced in February. On 12 April 2013, the band released the album's track listing. The standard version of the album features eight new tracks, and the deluxe version features three bonus tracks.
The band's first single from 13, "God Is Dead?", was released on 19 April 2013. On 20 April 2013, Black Sabbath commenced their first Australia/New Zealand tour in 40 years followed by a North American Tour in Summer 2013. The second single of the album, "End of the Beginning", debuted on 15 May in a CSI: Crime Scene Investigation episode, where all three members appeared. In June 2013, 13 topped both the UK Albums Chart and the U.S. Billboard 200, becoming their first album to reach number one on the latter chart. In 2014, Black Sabbath received their first Grammy Award since 2000 with "God Is Dead?" winning Best Metal Performance.
In July 2013, Black Sabbath embarked on a North American Tour (for the first time since July 2001), followed by a Latin American tour in October 2013. In November 2013, the band started their European tour which lasted until December 2013. In March and April 2014, they made 12 stops in North America (mostly in Canada) as the second leg of their North American Tour before embarking in June 2014 on the second leg of their European tour, which ended with a concert at London's Hyde Park.
2014–2017: Cancelled twentieth album, The End, and disbandment
On 29 September 2014, Osbourne told Metal Hammer that Black Sabbath would begin work on their twentieth studio album in early 2015 with producer Rick Rubin, followed by a final tour in 2016. In an April 2015 interview, however, Osbourne said that these plans "could change", and added, "We all live in different countries and some of them want to work and some of them don't want to, I believe. But we are going to do another tour together."
On 3 September 2015, it was announced that Black Sabbath would embark on their final tour, titled The End, from January 2016 to February 2017. Numerous dates and locations across the U.S., Canada, Europe, Australia and New Zealand were announced. The final shows of The End tour took place at the Genting Arena in their home city of Birmingham, England on 2 and 4 February 2017. On 26 October 2015, it was announced the band consisting of Osbourne, Iommi and Butler would be returning to the Download Festival on 11 June 2016. Despite earlier reports that they would enter the studio before their farewell tour, Osbourne stated that there would not be another Black Sabbath studio album. However, an 8-track CD entitled The End was sold at dates on the tour. Along with some live recordings, the CD includes four unused tracks from the 13 sessions.
On 4 March 2016, Iommi discussed future re-releases of the Tony Martin-era catalogue: "We've held back on the reissues of those albums because of the current Sabbath thing with Ozzy Osbourne, but they will certainly be happening... I'd like to do a couple of new tracks for those releases with Tony Martin... I'll also be looking at working on Cross Purposes and Forbidden." Martin had suggested that this could coincide with the 30th anniversary of The Eternal Idol, in 2017. In an interview that August, Martin added "[Iommi] still has his cancer issues of course and that may well stop it all from happening but if he wants to do something I am ready." On 10 August 2016, Iommi revealed that his cancer was in remission.
Asked in November 2016 about his plans after Black Sabbath's final tour, Iommi replied, "I'll be doing some writing. Maybe I'll be doing something with the guys, maybe in the studio, but no touring." The band played their final concert on 4 February 2017 in Birmingham. The final song was streamed live on the band's Facebook page and fireworks went off as the band took their final bow. The band's final tour was not an easy one, as longstanding tensions between Osbourne and Iommi returned to the surface. Iommi stated that he would not rule out the possibility of one-off shows, "I wouldn't write that off, if one day that came about. That's possible. Or even doing an album, 'cause then, again, you're in one place. But I don't know if that would happen." In an April 2017 interview, Butler revealed that Black Sabbath considered making a blues album as the follow-up to 13, but added that, "the tour got in the way."
On 7 March 2017, Black Sabbath announced their disbandment through posts made on their official social media accounts.
2017–present: Aftermath
In a June 2018 interview with ITV News, Osbourne expressed interest in reuniting with Black Sabbath for a performance at the 2022 Commonwealth Games which is due to be held in their home city Birmingham. Iommi said that performing at the event as Black Sabbath would be "a great thing to do to help represent Birmingham. I'm up for it. Let's see what happens." He also did not rule out the possibility for the band to reform only for a one-off performance rather than a full-length tour.
In September 2020, Osbourne stated in an interview that he was no longer interested in a reunion: "Not for me. It's done. The only thing I do regret is not doing the last farewell show in Birmingham with Bill Ward. I felt really bad about that. It would have been so nice. I don't know what the circumstances behind it were, but it would have been nice. I've talked to Tony a few times, but I don't have any of the slightest interest in doing another gig. Maybe Tony's getting bored now." Butler also ruled out the possibility of any future Black Sabbath performances in an interview with Eonmusic on 10 November 2020, stating that the band is over: "There will definitely be no more Sabbath. It's done." Iommi however, pondered the possibility of another reunion tour in an interview with The Mercury News, stating that he "would like to play with the guys again" and that he misses the audiences and stage. Bill Ward stated in an interview with Eddie Trunk that he no longer has the ability or chops to perform with Black Sabbath in concert, but expressed that he would love to make another album with Osbourne, Butler and Iommi.
Despite ruling out the possibility of another Black Sabbath reunion, Osbourne revealed in an episode of Ozzy Speaks on Ozzy's Boneyard that he is working with Iommi, who will appear as one of the guests for his upcoming thirteenth solo album. In an October 2021 interview with the Metro, Ward revealed that he has kept "in contact" with his former bandmates and stated that he is "very open-minded" to the possibility of recording another Black Sabbath album: "I haven't spoken to the guys about it, but I have talked to a couple of people in management about the possibility of making a recording."
On 30 September 2020, Black Sabbath announced a new Dr. Martens shoe collection. The partnership with the British footwear company celebrated the 50th anniversaries of the band's Black Sabbath and Paranoid albums, with the boots depicting artwork from the former. On 13 January 2021, the band announced that they would reissue both Heaven & Hell and Mob Rules as expanded deluxe editions on 5 March 2021, with unreleased material included.
Musical style
Black Sabbath were a heavy metal band, whose music has also been described as psychedelic rock, and acid rock. The band have also been cited as a key influence on genres including stoner rock, grunge, doom metal, and sludge metal. Early on, Black Sabbath were influenced by Cream, The Beatles, Fleetwood Mac, Jimi Hendrix, John Mayall & the Bluesbreakers, Blue Cheer, Led Zeppelin, and Jethro Tull.
Although Black Sabbath went through many line-ups and stylistic changes, their core sound focuses on ominous lyrics and doomy music, often making use of the musical tritone, also called the "devil's interval". While their Ozzy-era albums such as Sabbath Bloody Sabbath (1973) had slight compositional similarities to the progressive rock genre that was growing in popularity at the time, standing in stark contrast to popular music of the early 1970s, Black Sabbath's dark sound was dismissed by rock critics of the era. Much like many of their early heavy metal contemporaries, the band received virtually no airplay on rock radio.
As the band's primary songwriter, Tony Iommi wrote the majority of Black Sabbath's music, while Osbourne would write vocal melodies, and bassist Geezer Butler would write lyrics. The process was sometimes frustrating for Iommi, who often felt pressured to come up with new material: "If I didn't come up with anything, nobody would do anything." On Iommi's influence, Osbourne later said:
Beginning with their third album, Master of Reality (1971), Black Sabbath began to feature tuned-down guitars. In 1965, before forming Black Sabbath, guitarist Tony Iommi suffered an accident while working in a sheet metal factory, losing the tips of two fingers on his right hand. Iommi almost gave up music, but was urged by the factory manager to listen to Django Reinhardt, a jazz guitarist who lost the use of two fingers in a fire. Inspired by Reinhardt, Iommi created two thimbles made of plastic and leather to cap off his missing fingertips. The guitarist began using lighter strings, and detuning his guitar, to better grip the strings with his prosthesis. Early in the band's history Iommi experimented with different dropped tunings, including C tuning, or 3 semitones down, before settling on E/D tuning, or a half-step down from standard tuning.
Legacy
Black Sabbath has sold over 70 million records worldwide, including a RIAA-certified 15 million in the U.S. They are one of the most influential heavy metal bands of all time. The band helped to create the genre with ground-breaking releases such as Paranoid (1970), an album that Rolling Stone magazine said "changed music forever", and called the band "the Beatles of heavy metal". Time magazine called Paranoid "the birthplace of heavy metal", placing it in their Top 100 Albums of All Time.
MTV placed Black Sabbath at number one on their Top Ten Heavy Metal Bands and VH1 placed them at number two on their list of the 100 Greatest Artists of Hard Rock. VH1 ranked Black Sabbath's "Iron Man" the number one song on their 40 Greatest Metal Songs countdown. Rolling Stone magazine ranked the band number 85 in their list of the "100 Greatest Artists of All Time". AllMusic's William Ruhlmann said:
According to Rolling Stone Holly George-Warren, "Black Sabbath was the heavy metal king of the 1970s." Although initially "despised by rock critics and ignored by radio programmers", the group sold more than 8 million albums by the end of that decade. "The heavy metal band…" marvelled Ronnie James Dio. "A band that didn't apologise for coming to town; it just stepped on buildings when it came to town."
Influence and innovation
Black Sabbath have influenced many acts including Judas Priest, Iron Maiden, Diamond Head, Slayer, Metallica, Nirvana, Korn, Black Flag, Mayhem, Venom, Guns N' Roses, Soundgarden, Body Count, Alice in Chains, Anthrax, Disturbed, Death, Opeth, Pantera, Megadeth, the Smashing Pumpkins, Slipknot, Foo Fighters, Fear Factory, Candlemass, Godsmack, and Van Halen. Two gold selling tribute albums have been released, Nativity in Black Volume 1 & 2, including covers by Sepultura, White Zombie, Type O Negative, Faith No More, Machine Head, Primus, System of a Down, and Monster Magnet.
Metallica's Lars Ulrich, who, along with bandmate James Hetfield inducted Black Sabbath into the Rock and Roll Hall of Fame in 2006, said "Black Sabbath is and always will be synonymous with heavy metal", while Hetfield said "Sabbath got me started on all that evil-sounding shit, and it's stuck with me. Tony Iommi is the king of the heavy riff." Guns N' Roses guitarist Slash said of the Paranoid album: "There's just something about that whole record that, when you're a kid and you're turned onto it, it's like a whole different world. It just opens up your mind to another dimension...Paranoid is the whole Sabbath experience; very indicative of what Sabbath meant at the time. Tony's playing style—doesn't matter whether it's off Paranoid or if it's off Heaven and Hell—it's very distinctive." Anthrax guitarist Scott Ian said "I always get the question in every interview I do, 'What are your top five metal albums?' I make it easy for myself and always say the first five Sabbath albums."
Lamb of God's Chris Adler said: "If anybody who plays heavy metal says that they weren't influenced by Black Sabbath's music, then I think that they're lying to you. I think all heavy metal music was, in some way, influenced by what Black Sabbath did." Judas Priest vocalist Rob Halford commented: "They were and still are a groundbreaking band...you can put on the first Black Sabbath album and it still sounds as fresh today as it did 30-odd years ago. And that's because great music has a timeless ability: To me, Sabbath are in the same league as the Beatles or Mozart. They're on the leading edge of something extraordinary." On Black Sabbath's standing, Rage Against the Machine guitarist Tom Morello states: "The heaviest, scariest, coolest riffs and the apocalyptic Ozzy wail are without peer. You can hear the despair and menace of the working-class Birmingham streets they came from in every kick-ass, evil groove. Their arrival ground hippy, flower-power psychedelia to a pulp and set the standard for all heavy bands to come." Phil Anselmo of Pantera and Down stated that "Only a fool would leave out what Black Sabbath brought to the heavy metal genre".
According to Tracii Guns of L.A. Guns and former member of Guns N' Roses, the main riff of "Paradise City" by Guns N' Roses, from Appetite for Destruction (1987), was influenced by the song "Zero the Hero" from the Born Again album. King Diamond guitarist Andy LaRocque affirmed that the clean guitar part of "Sleepless Nights" from Conspiracy (1989) is inspired by Tony Iommi's playing on Never Say Die!.
In addition to being pioneers of heavy metal, they also have been credited for laying the foundations for heavy metal subgenres stoner rock, sludge metal, thrash metal, black metal and doom metal as well as for alternative rock subgenre grunge. According to the critic Bob Gulla, the band's sound "shows up in virtually all of grunge's most popular bands, including Nirvana, Soundgarden, and Alice in Chains".
Tony Iommi has been credited as the pioneer of lighter gauge guitar strings. The tips of his fingers were severed in a steel factory, and while using thimbles (artificial finger tips) he found that standard guitar strings were too difficult to bend and play. He found that there was only one size of strings available, so after years with Sabbath he had strings custom made.
Culturally, Black Sabbath have exerted a huge influence in both television and literature and have in many cases become synonymous with heavy metal. In the film Almost Famous, Lester Bangs gives the protagonist an assignment to cover the band (plot point one) with the immortal line: 'Give me 500 words on Black Sabbath'. Contemporary music and arts publication Trebuchet Magazine has put this to practice by asking all new writers to write a short piece (500 words) on Black Sabbath as a means of proving their creativity and voice on a well documented subject.
Band members
Original lineup
Tony Iommi – guitars
Bill Ward – drums
Geezer Butler – bass
Ozzy Osbourne – vocals, harmonica
Discography
Black Sabbath (1970)
Paranoid (1970)
Master of Reality (1971)
Vol. 4 (1972)
Sabbath Bloody Sabbath (1973)
Sabotage (1975)
Technical Ecstasy (1976)
Never Say Die! (1978)
Heaven and Hell (1980)
Mob Rules (1981)
Born Again (1983)
Seventh Star (1986)
The Eternal Idol (1987)
Headless Cross (1989)
Tyr (1990)
Dehumanizer (1992)
Cross Purposes (1994)
Forbidden (1995)
13'' (2013)
Tours
Polka Tulk Blues/Earth Tour 1968–1969
Black Sabbath Tour 1970
Paranoid Tour 1970–1971
Master of Reality Tour 1971–1972
Vol. 4 Tour 1972–1973
Sabbath Bloody Sabbath Tour 1973–1974
Sabotage Tour 1975–1976
Technical Ecstasy Tour 1976–1977
Never Say Die! Tour 1978
Heaven & Hell Tour 1980–1981
Mob Rules Tour 1981–1982
Born Again Tour 1983
Seventh Star Tour 1986
Eternal Idol Tour 1987
Headless Cross Tour 1989
Tyr Tour 1990
Dehumanizer Tour 1992
Cross Purposes Tour 1994
Forbidden Tour 1995
Ozzfest Tour 1997
European Tour 1998
Reunion Tour 1998–1999
Ozzfest Tour 1999
U.S. Tour 1999
European Tour 1999
Ozzfest Tour 2001
Ozzfest Tour 2004
European Tour 2005
Ozzfest Tour 2005
Black Sabbath Reunion Tour, 2012–2014
The End Tour 2016–2017
See also
List of cover versions of Black Sabbath songs
Heavy metal groups
References
Sources
External links
Black Sabbath biography by James Christopher Monger, discography and album reviews, credits & releases at AllMusic
Black Sabbath discography, album releases & credits at Discogs.com
Musical groups established in 1968
Musical groups disestablished in 2006
Musical groups reestablished in 2011
Musical groups disestablished in 2017
English heavy metal musical groups
Grammy Lifetime Achievement Award winners
1968 establishments in England
2017 disestablishments in England
Kerrang! Awards winners
I.R.S. Records artists
Vertigo Records artists
Musical groups from Birmingham, West Midlands
Musical quartets
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[
"The Best of Black Sabbath is a double CD compilation album by Black Sabbath released in 2000 on the Sanctuary Records label. Its 32 songs are presented chronologically from the band's first 11 albums, spanning the years 1970 to 1983. Black Sabbath's classic six-album run, from 1970s debut Black Sabbath through 1975's Sabotage is celebrated with three to six songs from each album. Original vocalist Ozzy Osbourne's subsequent final two albums with the band, 1976's Technical Ecstasy and 1978's Never Say Die!, are represented by one and two songs, respectively. Replacement Ronnie James Dio's early 80's stint fronting the band on two albums is acknowledged with the title track of 1980's Heaven and Hell and a track from 1981's The Mob Rules. The compilation closes with a song from 1983's attempted rebirth, Born Again, former Deep Purple vocalist Ian Gillan's sole album with the band. The Best of Black Sabbath does not include any later material with vocalists Glenn Hughes (1986's Seventh Star), Tony Martin (1986–96) or the returning Dio (1992's Dehumanizer).\n\nAs this compilation album is released by a record label not associated with Black Sabbath or their management, it is not considered an official Black Sabbath release, and isn't in their official catalogue. There have been roughly half a dozen compilations released throughout Black Sabbath's career titled The Best of Black Sabbath. None of them are official band releases.\n\nTrack listing \nAll songs were written by Tony Iommi, Geezer Butler, Ozzy Osbourne, and Bill Ward except where noted.\n\nTracks 1–5 are from Black Sabbath (1970); 6–11 are from Paranoid (1970); and 12–16 are from Master of Reality (1971)\n\nTracks 1–3 are from Vol. 4 (1972); track 4–6 are from Sabbath Bloody Sabbath (1974); 7–10 are from Sabotage (1975); 11 is from Technical Ecstasy (1976); 12 & 13 from Never Say Die! (1978); 14 is from Heaven and Hell (1980), 15 from Mob Rules (1981); and 16 from Born Again (1983)\n\nAlbum cover \nThe album cover features in the foreground four water-filled stone-hewn graves, dating back to the 11th century. The location is St Peter's Church, Heysham, Lancashire, North West England, overlooking Morecambe Bay. In the background the sun is setting, so apparently it is at dusk. It has a \"The Best of Black Sabbath\" title which appears in a Greek style font. On the back of the booklet (which contains extensive liner notes, penned by Hugh Gilmour, and credits) there is a silhouette of Geezer Butler playing in the moonlight.\n\nCharts\n\nCertifications\n\nPersonnel \n1969-1979 Disc One tracks 1-16; Disc Two tracks 1-13\n\nThe albums that this line-up is featured on are Black Sabbath, Paranoid, Master of Reality, Vol. 4, Sabbath Bloody Sabbath, Sabotage, Technical Ecstasy, and Never Say Die!.\n\n Ozzy Osbourne - vocals, harmonica (only track 2 on disc I)\n Tony Iommi - guitars, piano, etc.\n Geezer Butler - bass\n Bill Ward - drums\n Rodger Bain - producer (Black Sabbath, Paranoid, and Master of Reality)\n Patrick Meehan - producer (Vol. 4)\n Mike Butcher - co-producer (Sabotage, Technical Ecstasy, Never Say Die!)\n Robin Black - co-producer (Sabotage, Technical Ecstasy, Never Say Die!)\n\n1980 Disc Two track 14\n\nThe album that this line-up is featured on is Heaven and Hell.\n\n Ronnie James Dio - vocals\n Tony Iommi - guitars\n Geezer Butler - bass\n Bill Ward - drums\n\n1981-1982 Disc Two track 15\n\nThe album that this line-up is featured on is Mob Rules.\n\n Ronnie James Dio - vocals\n Tony Iommi - guitars\n Geezer Butler - bass\n Vinny Appice - drums\n\n1983-1984 Disc Two track 16\n\nThe album that this line-up is featured on is Born Again.\n\n Ian Gillan - vocals\n Tony Iommi - guitars\n Geezer Butler - bass\n Bill Ward - drums\n\nSales accomplishments \nBPI certification (United Kingdom)\n\nReferences \n\nBlack Sabbath compilation albums\nBest of Black Sabbath, The\nSanctuary Records compilation albums",
"Greatest Hits is a compilation album from Black Sabbath, released by Universal in 2009.\n\nThis album features only the original line-up of Black Sabbath with most of the albums Ozzy Osbourne worked on presented. This compilation features songs from 1970's self-titled debut album to Sabbath Bloody Sabbath, as well as one song from Never Say Die!.\n\nThis compilations used the same masters from the Universal 2009 album remasters.\n\nA similar compilation of the same name was released outside North America by NEMS Records in 1977.\n\nThe album was re-released in 2012 as Iron Man: The Best of Black Sabbath with identical track listing but different artwork.\n\nTrack listing\n\nPersonnel\nBlack Sabbath\nOzzy Osbourne - vocals\nTony Iommi - guitar\nGeezer Butler - bass\nBill Ward - drums\n\nCertifications\n\nRelease history\n\nReferences\n\n2009 greatest hits albums\nBlack Sabbath compilation albums\nUniversal Records compilation albums\nAlbums produced by Patrick Meehan (producer)"
] |
[
"Black Sabbath",
"Born Again (1983-1984)",
"Is Born Again the name of a Black Sabbath album?",
"Born Again (7 August 1983) was panned upon release by critics. Despite the negative reception of the album,"
] |
C_33cdd6eae6294662ac88929b38897497_1
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What is a single from the album?
| 2 |
What is a single from the album Born Again by Black Sabbath?
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Black Sabbath
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The remaining two original members, Tony Iommi and Geezer Butler, began auditioning new singers for the band's next release. Samson's Nicky Moore, and Lone Star's John Sloman were considered and Iommi states in his autobiography that Michael Bolton auditioned for the band. The band settled on former Deep Purple vocalist Ian Gillan to replace Ronnie James Dio in December 1982. While the project was not initially set to be called Black Sabbath, pressures from the record label forced the group to retain the name. The band entered The Manor Studios in Shipton-on-Cherwell, Oxfordshire, in June 1983 with a returned and newly sober Bill Ward on drums. Born Again (7 August 1983) was panned upon release by critics. Despite the negative reception of the album, it reached number four on the UK charts, and number 39 in the U.S. Even a decade after its release AllMusic's Eduardo Rivadavia called the album "dreadful", noting that "Gillan's bluesy style and humorous lyrics were completely incompatible with the lords of doom and gloom". Although he performed on the album, drummer Ward was unable to tour because of the pressures of the road, and quit the band after the commencement of the Born Again album. "I fell apart with the idea of touring", Ward later said. "I got so much fear behind touring, I didn't talk about the fear, I drank behind the fear instead and that was a big mistake." Ward was replaced by former Electric Light Orchestra drummer Bev Bevan for the Born Again '83 -'84 world tour, (often unofficially referred to as the 'Feigh Death Sabbath '83 - '84' World Tour) which began in Europe with Diamond Head, and later in the U.S. with Quiet Riot and Night Ranger. The band headlined the 1983 Reading Festival in England, adding the Deep Purple song "Smoke on the Water" to their set list. The tour in support of Born Again included a giant set of the Stonehenge monument. In a move that would be later parodied in the mockumentary This Is Spinal Tap, the band made a mistake in ordering the set piece. As Geezer Butler later explained: We had Sharon Osbourne's dad, Don Arden, managing us. He came up with the idea of having the stage set be Stonehenge. He wrote the dimensions down and gave it to our tour manager. He wrote it down in metres but he meant to write it down in feet. The people who made it saw fifteen metres instead of fifteen feet. It was 45 feet high and it wouldn't fit on any stage anywhere so we just had to leave it in the storage area. It cost a fortune to make but there was not a building on earth that you could fit it into. CANNOTANSWER
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The band headlined the 1983 Reading Festival in England, adding the Deep Purple song "Smoke on the Water" to their set list.
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Black Sabbath were an English rock band formed in Birmingham in 1968 by guitarist Tony Iommi, drummer Bill Ward, bassist Geezer Butler and vocalist Ozzy Osbourne. They are often cited as pioneers of heavy metal music. The band helped define the genre with releases such as Black Sabbath (1970), Paranoid (1970), and Master of Reality (1971). The band had multiple line-up changes following Osbourne's departure in 1979, with Iommi being the only constant member throughout its history.
After previous iterations of the group called the Polka Tulk Blues Band and Earth, the band settled on the name Black Sabbath in 1969. They distinguished themselves through occult themes with horror-inspired lyrics and down-tuned guitars. Signing to Philips Records in November 1969, they released their first single, "Evil Woman" in January 1970. Their debut album, Black Sabbath, was released the following month. Though it received a negative critical response, the album was a commercial success, leading to a follow-up record, Paranoid, later that year. The band's popularity grew, and by 1973's Sabbath Bloody Sabbath, critics were starting to respond favourably.
Osbourne's excessive substance abuse led to his firing in 1979. He was replaced by former Rainbow vocalist Ronnie James Dio. Following two albums with Dio, Black Sabbath endured many personnel changes in the 1980s and 1990s that included vocalists Ian Gillan, Glenn Hughes, Ray Gillen and Tony Martin, as well as several drummers and bassists. Martin, who replaced Gillen in 1987, was the second longest serving vocalist and recorded three albums with Black Sabbath before his dismissal in 1991. That same year, Iommi and Butler were rejoined by Dio and drummer Vinny Appice to record Dehumanizer (1992). After two more studio albums with Martin, who replaced Dio in 1993, the band's original line-up reunited in 1997 and released a live album Reunion the following year; they continued to tour occasionally until 2005. Other than various back catalogue reissues and compilation albums, as well as the Mob Rules-era lineup reunited as Heaven & Hell, there was no further activity under the Black Sabbath name for six years. They reunited in 2011 and released their final studio album and nineteenth overall, 13 (2013), which features all of the original members except Ward. During their farewell tour, the band played their final concert in their home city of Birmingham on 4 February 2017.
Black Sabbath have sold over 70 million records worldwide as of 2013, making them one of the most commercially successful heavy metal bands. They were ranked by MTV as the "Greatest Metal Band" of all time, and placed second in VH1's "100 Greatest Artists of Hard Rock" list. Rolling Stone magazine ranked them number 85 on their "100 Greatest Artists of All Time". Black Sabbath were inducted into the UK Music Hall of Fame in 2005 and the Rock and Roll Hall of Fame in 2006. They have also won two Grammy Awards for Best Metal Performance, and in 2019 the band were presented a Grammy Lifetime Achievement Award.
History
1968–1969: Formation and early days
Following the break-up of their previous band Mythology in 1968, guitarist Tony Iommi and drummer Bill Ward sought to form a heavy blues rock band in Aston, Birmingham. They enlisted bassist Geezer Butler and vocalist Ozzy Osbourne, who had played together in a band called Rare Breed, Osbourne having placed an advertisement in a local music shop: "OZZY ZIG Needs Gig – has own PA". The new group was initially named the Polka Tulk Blues Band, the name taken either from a brand of talcum powder or an Indian/Pakistani clothing shop; the exact origin is confused. The Polka Tulk Blues Band included slide guitarist Jimmy Phillips, a childhood friend of Osbourne's, and saxophonist Alan "Aker" Clarke. After shortening the name to Polka Tulk, the band again changed their name to Earth (which Osbourne hated) and continued as a four-piece without Phillips and Clarke. Iommi became concerned that Phillips and Clarke lacked the necessary dedication and were not taking the band seriously. Rather than asking them to leave, they instead decided to break up and then quietly reformed the band as a four-piece. While the band was performing under the Earth title, they recorded several demos written by Norman Haines such as "The Rebel", "Song for Jim", and "When I Came Down". The demo titled "Song for Jim" was in reference to Jim Simpson. Simpson was a manager for the bands Bakerloo Blues Line and Tea & Symphony, as well as being trumpet player for the group Locomotive. Simpson had recently started a new club named Henry's Blueshouse at The Crown Hotel in Birmingham and offered to let Earth play there after they agreed to waive the usual support band fee in return for free t-shirts. The audience response was positive and Simpson agreed to manage Earth.
In December 1968, Iommi abruptly left Earth to join Jethro Tull. Although his stint with the band would be short-lived, Iommi made an appearance with Jethro Tull on The Rolling Stones Rock and Roll Circus TV show. Unsatisfied with the direction of Jethro Tull, Iommi returned to Earth by the end of the month. "It just wasn't right, so I left", Iommi said. "At first I thought Tull were great, but I didn't much go for having a leader in the band, which was Ian Anderson's way. When I came back from Tull, I came back with a new attitude altogether. They taught me that to get on, you got to work for it."
While playing shows in England in 1969, the band discovered they were being mistaken for another English group named Earth. They decided to change their name again. A cinema across the street from the band's rehearsal room was showing the 1963 horror film Black Sabbath starring Boris Karloff and directed by Mario Bava. While watching people line up to see the film, Butler noted that it was "strange that people spend so much money to see scary movies". Following that, Osbourne and Butler wrote the lyrics for a song called "Black Sabbath", which was inspired by the work of horror and adventure-story writer Dennis Wheatley, along with a vision that Butler had of a black silhouetted figure standing at the foot of his bed. Making use of the musical tritone, also known as "the Devil's Interval", the song's ominous sound and dark lyrics pushed the band in a darker direction, a stark contrast to the popular music of the late 1960s, which was dominated by flower power, folk music, and hippie culture. Judas Priest frontman Rob Halford has called the track "probably the most evil song ever written". Inspired by the new sound, the band changed their name to Black Sabbath in August 1969, and made the decision to focus on writing similar material, in an attempt to create the musical equivalent of horror films.
1969–1971: Black Sabbath and Paranoid
The band's first show as Black Sabbath took place on 30 August 1969, in Workington, England. They were signed to Philips Records in November 1969, and released their first single, "Evil Woman" (a cover of a song by the band Crow), recorded at Trident Studios, through Philips subsidiary Fontana Records in January 1970. Later releases were handled by Philips' newly formed progressive rock label, Vertigo Records.
Black Sabbath's first major exposure came when the band appeared on John Peel's Top Gear radio show in 1969, performing "Black Sabbath", "N.I.B.", "Behind the Wall of Sleep", and "Sleeping Village" to a national audience in Great Britain shortly before recording of their first album commenced. Although the "Evil Woman" single failed to chart, the band were afforded two days of studio time in November to record their debut album with producer Rodger Bain. Iommi recalls recording live: "We thought 'We have two days to do it and one of the days is mixing.' So we played live. Ozzy was singing at the same time, we just put him in a separate booth and off we went. We never had a second run of most of the stuff."
Black Sabbath was released on Friday the 13th, February 1970, and reached number 8 in the UK Albums Chart. Following its U.S. and Canadian release in May 1970 by Warner Bros. Records, the album reached number 23 on the Billboard 200, where it remained for over a year. The album was given negative reviews by many critics. Lester Bangs dismissed it in a Rolling Stone review as "discordant jams with bass and guitar reeling like velocitised speedfreaks all over each other's musical perimeters, yet never quite finding synch". It sold in substantial numbers despite being panned, giving the band their first mainstream exposure. It has since been certified platinum in both U.S. by the Recording Industry Association of America (RIAA) and in the UK by British Phonographic Industry (BPI), and is now generally accepted as the first heavy metal album.
The band returned to the studio in June 1970, just four months after Black Sabbath was released. The new album was initially set to be named War Pigs after the song "War Pigs", which was critical of the Vietnam War; however, Warner changed the title of the album to Paranoid. The album's lead-off single, "Paranoid", was written in the studio at the last minute. Ward explains: "We didn't have enough songs for the album, and Tony just played the [Paranoid] guitar lick and that was it. It took twenty, twenty-five minutes from top to bottom." The single was released in September 1970 and reached number four on the UK Singles Chart, remaining Black Sabbath's only top ten hit. The album followed in the UK in October 1970, where, pushed by the success of the "Paranoid" single, it made number one in the UK Albums Chart.
The U.S. release was held off until January 1971, as the Black Sabbath album was still on the chart at the time of Paranoids UK release. The album reached No. 12 in the U.S. in March 1971, and would go on to sell four million copies in the U.S., with virtually no radio airplay. Like Black Sabbath, the album was panned by rock critics of the era, but modern-day reviewers such as AllMusic's Steve Huey cite Paranoid as "one of the greatest and most influential heavy metal albums of all time", which "defined the sound and style of heavy metal more than any other record in rock history". The album was ranked at No. 131 on Rolling Stone magazine's list of The 500 Greatest Albums of All Time. Paranoids chart success allowed the band to tour the U.S. for the first time (playing their first U.S. show at a club called Ungano's at 210 West 70th Street in New York City) and spawned the release of the album's second single "Iron Man". Although the single failed to reach the top 40, "Iron Man" remains one of Black Sabbath's most popular songs, as well as the band's highest charting U.S. single until 1998's "Psycho Man".
1971–1973: Master of Reality and Volume 4
In February 1971, after a one-off performance at the Myponga Pop Festival in Australia, Black Sabbath returned to the studio to begin work on their third album. Following the chart success of Paranoid, the band were afforded more studio time, along with a "briefcase full of cash" to buy drugs. "We were getting into coke, big time", Ward explained. "Uppers, downers, Quaaludes, whatever you like. It got to the stage where you come up with ideas and forget them, because you were just so out of it."
Production completed in April 1971, in July the band released Master of Reality, just six months after the U.S. release of Paranoid. The album reached the top ten in the U.S. and the United Kingdom, and was certified gold in less than two months, eventually receiving platinum certification in the 1980s and Double Platinum in the early 21st century. It contained Sabbath's first acoustic songs, alongside fan favourites such as "Children of the Grave" and "Sweet Leaf". Critical response of the era was generally unfavourable, with Lester Bangs delivering an ambivalent review of Master of Reality in Rolling Stone, describing the closing "Children of the Grave" as "naïve, simplistic, repetitive, absolute doggerel – but in the tradition [of rock'n'roll]... The only criterion is excitement, and Black Sabbath's got it". (In 2003, Rolling Stone would place the album at number 300 on their 500 Greatest Albums of All Time list.)
Following the Master of Reality world tour in 1972, Sabbath took its first break in three years. As Ward explained: "The band started to become very fatigued and very tired. We'd been on the road non-stop, year in and year out, constantly touring and recording. I think Master of Reality was kind of like the end of an era, the first three albums, and we decided to take our time with the next album."
In June 1972, the band reconvened in Los Angeles to begin work on their next album at the Record Plant. With more time in the studio, the album saw the band experimenting with new textures, such as strings, piano, orchestration and multi-part songs. Recording was plagued with problems, many as a result of substance abuse issues. Struggling to record the song "Cornucopia" after "sitting in the middle of the room, just doing drugs", Ward was nearly fired. "I hated the song, there were some patterns that were just... horrible," the drummer said. "I nailed it in the end, but the reaction I got was the cold shoulder from everybody. It was like 'Well, just go home, you're not being of any use right now.' I felt like I'd blown it, I was about to get fired". Butler thought that the end product "was very badly produced, as far as I was concerned. Our then-manager insisted on producing it, so he could claim production costs."
The album was originally titled Snowblind after the song of the same name, which deals with cocaine abuse. The record company changed the title at the last minute to Black Sabbath Vol. 4. Ward observed, "There was no Volume 1, 2 or 3, so it's a pretty stupid title really". Vol. 4 was released in September 1972 and, while critics were dismissive, it achieved gold status in less than a month, and was the band's fourth consecutive release to sell a million in the U.S. "Tomorrow's Dream" was released as a single – the band's first since "Paranoid" – but failed to chart.
Following an extensive tour of the U.S., in 1973 the band travelled again to Australia, followed by a tour for the first time to New Zealand, before moving onto mainland Europe. "The band were definitely in their heyday," recalled Ward, "in the sense that nobody had burnt out quite yet."
1973–1976: Sabbath Bloody Sabbath and Sabotage
Following the Volume 4 world tour, Black Sabbath returned to Los Angeles to begin work on their next release. Pleased with the Volume 4 album, the band sought to recreate the recording atmosphere, and returned to the Record Plant studio in Los Angeles. With new musical innovations of the era, the band were surprised to find that the room they had used previously at the Record Plant was replaced by a "giant synthesiser". The band rented a house in Bel Air and began writing in the summer of 1973, but in part because of substance issues and fatigue, they were unable to complete any songs. "Ideas weren't coming out the way they were on Volume 4 and we really got discontent" Iommi said. "Everybody was sitting there waiting for me to come up with something. I just couldn't think of anything. And if I didn't come up with anything, nobody would do anything."
After a month in Los Angeles with no results, the band opted to return to England. They rented Clearwell Castle in The Forest of Dean. "We rehearsed in the dungeons and it was really creepy but it had some atmosphere, it conjured up things, and stuff started coming out again." While working in the dungeon, Iommi stumbled onto the main riff of "Sabbath Bloody Sabbath", which set the tone for the new material. Recorded at Morgan Studios in London by Mike Butcher and building off the stylistic changes introduced on Volume 4, new songs incorporated synthesisers, strings, and complex arrangements. Yes keyboardist Rick Wakeman was brought in as a session player, appearing on "Sabbra Cadabra".
In November 1973, Black Sabbath began to receive positive reviews in the mainstream press after the release of Sabbath Bloody Sabbath, with Gordon Fletcher of Rolling Stone calling the album "an extraordinarily gripping affair", and "nothing less than a complete success." Later reviewers such as AllMusic's Eduardo Rivadavia cite the album as a "masterpiece, essential to any heavy metal collection", while also displaying "a newfound sense of finesse and maturity." The album marked the band's fifth consecutive platinum selling album in the U.S., reaching number four on the UK Albums Chart, and number eleven in the U.S.
The band began a world tour in January 1974, which culminated at the California Jam festival in Ontario, California, on 6 April 1974. Attracting over 200,000 fans, Black Sabbath appeared alongside popular 1970s rock and pop bands Deep Purple, Eagles, Emerson, Lake & Palmer, Rare Earth, Seals & Crofts, Black Oak Arkansas, and Earth, Wind & Fire. Portions of the show were telecast on ABC Television in the U.S., exposing the band to a wider American audience. In the same year, the band shifted management, signing with notorious English manager Don Arden. The move caused a contractual dispute with Black Sabbath's former management, and while on stage in the U.S., Osbourne was handed a subpoena that led to two years of litigation.
Black Sabbath began work on their sixth album in February 1975, again in England at Morgan Studios in Willesden, this time with a decisive vision to differ the sound from Sabbath, Bloody Sabbath. "We could've continued and gone on and on, getting more technical, using orchestras and everything else which we didn't particularly want to. We took a look at ourselves, and we wanted to do a rock album – Sabbath, Bloody Sabbath wasn't a rock album, really." Produced by Black Sabbath and Mike Butcher, Sabotage was released in July 1975. As with its precursor, the album initially saw favourable reviews, with Rolling Stone stating "Sabotage is not only Black Sabbath's best record since Paranoid, it might be their best ever", although later reviewers such as AllMusic noted that "the magical chemistry that made such albums as Paranoid and Volume 4 so special was beginning to disintegrate".
Sabotage reached the top 20 in both the U.S. and the United Kingdom, but was the band's first release not to achieve Platinum status in the U.S., only achieving Gold certification. Although the album's only single "Am I Going Insane (Radio)" failed to chart, Sabotage features fan favourites such as "Hole in the Sky", and "Symptom of the Universe". Black Sabbath toured in support of Sabotage with openers Kiss, but were forced to cut the tour short in November 1975, following a motorcycle accident in which Osbourne ruptured a muscle in his back. In December 1975, the band's record companies released a greatest hits album without input from the band, titled We Sold Our Soul for Rock 'n' Roll. The album charted throughout 1976, eventually selling two million copies in the U.S.
1976–1979: Technical Ecstasy, Never Say Die!, and Osbourne's departure
Black Sabbath began work for their next album at Criteria Studios in Miami, Florida, in June 1976. To expand their sound, the band added keyboard player Gerald Woodroffe, who also had appeared to a lesser extent on Sabotage. During the recording of Technical Ecstasy, Osbourne admits that he began losing interest in Black Sabbath and began to consider the possibility of working with other musicians. Recording of Technical Ecstasy was difficult; by the time the album was completed Osbourne was admitted to Stafford County Asylum in Britain. It was released on 25 September 1976 to mixed reviews, and (for the first time) later music critics gave the album less favourable retrospective reviews; two decades after its release AllMusic gave the album two stars, and noted that the band was "unravelling at an alarming rate". The album featured less of the doomy, ominous sound of previous efforts, and incorporated more synthesisers and uptempo rock songs. Technical Ecstasy failed to reach the top 50 in the U.S., and was the band's second consecutive release not to achieve platinum status, although it was later certified gold in 1997. The album included "Dirty Women", which remains a live staple, as well as Ward's first lead vocal on the song "It's Alright". Touring in support of Technical Ecstasy began in November 1976, with openers Boston and Ted Nugent in the U.S., and completed in Europe with AC/DC in April 1977.
In late 1977, while in rehearsal for their next album, and just days before the band was set to enter the studio, Osbourne abruptly quit the band. Iommi called vocalist Dave Walker, a longtime friend of the band, who had previously been a member of Fleetwood Mac and Savoy Brown, and informed him that Osbourne had left the band. Walker, who was at that time fronting a band called Mistress, flew to Birmingham from California in late 1977 to write material and rehearse with Black Sabbath. On 8 January 1978, Black Sabbath made their only live performance with Walker on vocals, playing an early version of the song "Junior's Eyes" on the BBC Television programme "Look! Hear!" Walker later recalled that while in Birmingham he had bumped into Osbourne in a pub and came to the conclusion that Osbourne was not fully committed to leaving Black Sabbath. "The last Sabbath albums were just very depressing for me", Osbourne said. "I was doing it for the sake of what we could get out of the record company, just to get fat on beer and put a record out." Walker has said that he wrote a lot of lyrics during his brief time in the band but none of them were ever used. If any recordings of this version of the band other than the "Look! Hear!" footage still exist, Walker says that he is not aware of them.
Osbourne initially set out to form a solo project featuring former Dirty Tricks members John Frazer-Binnie, Terry Horbury, and Andy Bierne. As the new band were in rehearsals in January 1978, Osbourne had a change of heart and rejoined Black Sabbath. "Three days before we were due to go into the studio, Ozzy wanted to come back to the band", Iommi explained. "He wouldn't sing any of the stuff we'd written with the other guy (Walker), so it made it very difficult. We went into the studio with basically no songs. We'd write in the morning so we could rehearse and record at night. It was so difficult, like a conveyor belt, because you couldn't get time to reflect on stuff. 'Is this right? Is this working properly?' It was very difficult for me to come up with the ideas and putting them together that quick."
The band spent five months at Sounds Interchange Studios in Toronto, Ontario, Canada, writing and recording what would become Never Say Die!. "It took quite a long time", Iommi said. "We were getting really drugged out, doing a lot of dope. We'd go down to the sessions, and have to pack up because we were too stoned, we'd have to stop. Nobody could get anything right, we were all over the place, everybody's playing a different thing. We'd go back and sleep it off, and try again the next day." The album was released in September 1978, reaching number twelve in the United Kingdom, and number 69 in the U.S. Press response was unfavourable and did not improve over time with Eduardo Rivadavia of AllMusic stating two decades after its release that the album's "unfocused songs perfectly reflected the band's tense personnel problems and drug abuse." The album featured the singles "Never Say Die" and "Hard Road", both of which cracked the top 40 in the United Kingdom. The band also made their second appearance on the BBC's Top of the Pops, performing "Never Say Die". It took nearly 20 years for the album to be certified Gold in the U.S.
Touring in support of Never Say Die! began in May 1978 with openers Van Halen. Reviewers called Black Sabbath's performance "tired and uninspired", a stark contrast to the "youthful" performance of Van Halen, who were touring the world for the first time. The band filmed a performance at the Hammersmith Odeon in June 1978, which was later released on DVD as Never Say Die. The final show of the tour, and Osbourne's last appearance with the band (until later reunions) was in Albuquerque, New Mexico on 11 December.
Following the tour, Black Sabbath returned to Los Angeles and again rented a house in Bel Air, where they spent nearly a year working on new material for the next album. The entire band were abusing both alcohol and other drugs, but Iommi says Osbourne "was on a totally different level altogether". The band would come up with new song ideas but Osbourne showed little interest and would refuse to sing them. Pressure from the record label and frustrations with Osbourne's lack of input coming to a head, Iommi made the decision to fire Osbourne in 1979. Iommi believed the only options available were to fire Osbourne or break the band up completely. "At that time, Ozzy had come to an end", Iommi said. "We were all doing a lot of drugs, a lot of coke, a lot of everything, and Ozzy was getting drunk so much at the time. We were supposed to be rehearsing and nothing was happening. It was like 'Rehearse today? No, we'll do it tomorrow.' It really got so bad that we didn't do anything. It just fizzled out." Drummer Ward, who was close with Osbourne, was chosen by Tony to break the news to the singer on 27 April 1979. "I hope I was professional, I might not have been, actually. When I'm drunk I am horrible, I am horrid", Ward said. "Alcohol was definitely one of the most damaging things to Black Sabbath. We were destined to destroy each other. The band were toxic, very toxic."
1979–1982: Dio joins, Heaven and Hell, and Mob Rules
Sharon Arden (later Sharon Osbourne), daughter of Black Sabbath manager Don Arden, suggested former Rainbow vocalist Ronnie James Dio to replace Ozzy Osbourne in 1979. Don Arden was at this point still trying to convince Osbourne to rejoin the band, as he viewed the original line-up as the most profitable. Dio officially joined in June, and the band began writing their next album. With a notably different vocal style from Osbourne's, Dio's addition to the band marked a change in Black Sabbath's sound. "They were totally different altogether", Iommi explains. "Not only voice-wise, but attitude-wise. Ozzy was a great showman, but when Dio came in, it was a different attitude, a different voice and a different musical approach, as far as vocals. Dio would sing across the riff, whereas Ozzy would follow the riff, like in "Iron Man". Ronnie came in and gave us another angle on writing."
Geezer Butler temporarily left the band in September 1979 for personal reasons. According to Dio, the band initially hired Craig Gruber (with whom Dio had previously played while in Elf) on bass to assist with writing the new album. Gruber was soon replaced by Geoff Nicholls of Quartz. The new line-up returned to Criteria Studios in November to begin recording work, with Butler returning to the band in January 1980, and Nicholls moving to keyboards. Produced by Martin Birch, Heaven and Hell was released on 25 April 1980, to critical acclaim. Over a decade after its release AllMusic said the album was "one of Sabbath's finest records, the band sounds reborn and re-energised throughout". Heaven and Hell peaked at number 9 in the United Kingdom, and number 28 in the U.S., the band's highest charting album since Sabotage. The album eventually sold a million copies in the U.S., and the band embarked on an extensive world tour, making their first live appearance with Dio in Germany on 17 April 1980.
Black Sabbath toured the U.S. throughout 1980 with Blue Öyster Cult on the "Black and Blue" tour, with a show at Nassau Coliseum in Uniondale, New York filmed and released theatrically in 1981 as Black and Blue. On 26 July 1980, the band played to 75,000 fans at a sold-out Los Angeles Memorial Coliseum with Journey, Cheap Trick, and Molly Hatchet. The next day, the band appeared at the 1980 Day on the Green at Oakland Coliseum. While on tour, Black Sabbath's former label in England issued a live album culled from a seven-year-old performance, titled Live at Last without any input from the band. The album reached number five on the UK chart, and saw the re-release of "Paranoid" as a single, which reached the top 20.
On 18 August 1980, after a show in Minneapolis, Ward quit the band. "It was intolerable for me to get on the stage without Ozzy. And I drank 24 hours a day, my alcoholism accelerated". Geezer Butler stated that after Ward's final show, the drummer came in drunk, stating that "He might as well be a Martian". Ward then got angry, packed his things and got on a bus to leave. Following Ward's sudden departure, the group hired drummer Vinny Appice. Further trouble for the band came during their 9 October 1980 concert at the Milwaukee Arena, which degenerated into a riot causing $10,000 in damages to the arena and resulted in 160 arrests. According to the Associated Press, "the crowd of mostly adolescent males first became rowdy in a performance by the Blue Oyster Cult" and then grew restless while waiting an hour for Black Sabbath to begin playing. A member of the audience threw a beer bottle that struck bassist Butler and effectively ended the show. "The band then abruptly halted its performance and began leaving" as the crowd rioted.
The band completed the Heaven and Hell world tour in February 1981, and returned to the studio to begin work on their next album. Black Sabbath's second studio album produced by Martin Birch and featuring Ronnie James Dio as vocalist Mob Rules was released in October 1981, to be well received by fans, but less so by the critics. Rolling Stone reviewer J. D. Considine gave the album one star, claiming "Mob Rules finds the band as dull-witted and flatulent as ever". Like most of the band's earlier work, time helped to improve the opinions of the music press, a decade after its release, AllMusic's Eduardo Rivadavia called Mob Rules "a magnificent record". The album was certified gold, and reached the top 20 on the UK chart. The album's title track "The Mob Rules", which was recorded at John Lennon's old house in England, also featured in the 1981 animated film Heavy Metal, although the film version is an alternate take, and differs from the album version.
Unhappy with the quality of 1980's Live at Last, the band recorded another live album—titled Live Evil—during the Mob Rules world tour, across the United States in Dallas, San Antonio, and Seattle, in 1982. During the mixing process for the album, Iommi and Butler had a falling out with Dio. Misinformed by their then-current mixing engineer, Iommi and Butler accused Dio of sneaking into the studio at night to raise the volume of his vocals.<ref>{{cite web|last=Marszalek|first=Julian|title=Black Sabbath's Tony Iommi Recalls the 'Heaven and Hell Era|url=http://www.spinner.com/2010/04/02/black-sabbath-tony-iommi-interview/|archive-url=https://web.archive.org/web/20120320015547/http://www.spinner.com/2010/04/02/black-sabbath-tony-iommi-interview/|url-status=dead|archive-date=20 March 2012|publisher=spinner.com|access-date=26 January 2019}}</ref> In addition, Dio was not satisfied with the pictures of him in the artwork. Butler also accused Dio and Appice of working on a solo album during the album's mixing without telling the other members of Black Sabbath. "Ronnie wanted more say in things," Iommi said. "And Geezer would get upset with him and that is where the rot set in. Live Evil is when it all fell apart. Ronnie wanted to do more of his own thing, and the engineer we were using at the time in the studio didn't know what to do, because Ronnie was telling him one thing and we were telling him another. At the end of the day, we just said, 'That's it, the band is over'". "When it comes time for the vocal, nobody tells me what to do. Nobody! Because they're not as good as me, so I do what I want to do," Dio later said. "I refuse to listen to Live Evil, because there are too many problems. If you look at the credits, the vocals and drums are listed off to the side. Open up the album and see how many pictures there are of Tony, and how many there are of me and Vinny".
Ronnie James Dio left Black Sabbath in November 1982 to start his own band, and took drummer Vinny Appice with him. Live Evil was released in January 1983, but was overshadowed by Ozzy Osbourne's platinum selling album Speak of the Devil.
1982–1984: Gillan as singer and Born Again
The remaining original members, Iommi and Butler, began auditioning singers for the band's next release. Deep Purple and Whitesnake's David Coverdale, Samson's Nicky Moore and Lone Star's John Sloman were all considered and Iommi states in his autobiography that Michael Bolton auditioned. The band settled on former Deep Purple vocalist Ian Gillan to replace Dio in December 1982. The project was initially not to be called Black Sabbath, but pressure from the record label forced the group to retain the name. The band entered The Manor Studios in Shipton-on-Cherwell, Oxfordshire, in June 1983 with a returned and newly sober Bill Ward on drums. "That was the very first album that I ever did clean and sober," Ward recalled. "I only got drunk after I finished all my work on the album – which wasn't a very good idea... Sixty to seventy per cent of my energy was taken up on learning how to get through the day without taking a drink and learning how to do things without drinking, and thirty per cent of me was involved in the album."Born Again (7 August 1983) was panned on release by critics. Despite this negative reception, it reached number four in the UK, and number 39 in the U.S. Even three decades after its release, AllMusic's Eduardo Rivadavia called the album "dreadful", noting that "Gillan's bluesy style and humorous lyrics were completely incompatible with the lords of doom and gloom".
Unable to tour because of the pressures of the road, Ward quit the band. "I fell apart with the idea of touring," he later explained. "I got so much fear behind touring, I didn't talk about the fear, I drank behind the fear instead and that was a big mistake." He was replaced by former Electric Light Orchestra drummer Bev Bevan for the Born Again '83–'84 world tour, (often unofficially referred to as the 'Feighn Death Sabbath '83–'84' World Tour) which began in Europe with Diamond Head, and later in the U.S. with Quiet Riot and Night Ranger. The band headlined the 1983 Reading Festival in England, adding Deep Purple's "Smoke on the Water" to their encore.
The tour in support of Born Again included a giant set of the Stonehenge monument. In a move later parodied in the mockumentary This Is Spinal Tap, the band made a mistake in ordering the set piece. Butler explained:
1984–1987: Hiatus, Hughes as singer, Seventh Star, and Gillen as singer
Following the completion of the Born Again tour in March 1984, vocalist Ian Gillan left Black Sabbath to re-join Deep Purple, which was reforming after a long hiatus. Bevan left at the same time, and Gillan remarked that he and Bevan were made to feel like "hired help" by Iommi. The band then recruited an unknown Los Angeles vocalist named David Donato and Ward once again rejoined the band. The new line-up wrote and rehearsed throughout 1984, and eventually recorded a demo with producer Bob Ezrin in October. Unhappy with the results, the band parted ways with Donato shortly after. Disillusioned with the band's revolving line-up, Ward left shortly after stating "This isn't Black Sabbath". Butler would quit Sabbath next in November 1984 to form a solo band. "When Ian Gillan took over that was the end of it for me," he said. "I thought it was just a joke and I just totally left. When we got together with Gillan it was not supposed to be a Black Sabbath album. After we had done the album we gave it to Warner Bros. and they said they were going to put it out as a Black Sabbath album and we didn't have a leg to stand on. I got really disillusioned with it and Gillan was really pissed off about it. That lasted one album and one tour and then that was it."
One vocalist whose status is disputed, both inside and outside Sabbath, is Christian evangelist and former Joshua frontman Jeff Fenholt. Fenholt insists he was a singer in Sabbath between January and May 1985. Iommi has never confirmed this. Fenholt gives a detailed account in Garry Sharpe-Young's book Sabbath Bloody Sabbath: The Battle for Black Sabbath.
Following both Ward's and Butler's exits, sole remaining original member Iommi put Sabbath on hiatus, and began work on a solo album with long-time Sabbath keyboardist Geoff Nicholls. While working on new material, the original Sabbath line-up agreed to a spot at Bob Geldof's Live Aid, performing at the Philadelphia show on 13 July 1985. This event – which also featured reunions of The Who and Led Zeppelin – marked the first time the original line-up had appeared on stage since 1978. "We were all drunk when we did Live Aid," recalled Geezer Butler, "but we'd all got drunk separately."
Returning to his solo work, Iommi enlisted bassist Dave Spitz (ex-Great White), drummer Eric Singer and initially intended to use multiple singers, including Rob Halford of Judas Priest, former Deep Purple and Trapeze vocalist Glenn Hughes, and former Sabbath vocalist Ronnie James Dio. This plan didn't work as he forecasted. "We were going to use different vocalists on the album, guest vocalists, but it was so difficult getting it together and getting releases from their record companies. Glenn Hughes came along to sing on one track and we decided to use him on the whole album."
The band spent the remainder of the year in the studio, recording what would become Seventh Star (1986). Warner Bros. refused to release the album as a Tony Iommi solo release, instead insisting on using the name Black Sabbath. Pressured by the band's manager, Don Arden, the two compromised and released the album as "Black Sabbath featuring Tony Iommi" in January 1986. "It opened up a whole can of worms," Iommi explained. "If we could have done it as a solo album, it would have been accepted a lot more." Seventh Star sounded little like a Sabbath album, incorporating instead elements popularised by the 1980s Sunset Strip hard rock scene. It was panned by the critics of the era, although later reviewers such as AllMusic gave album verdicts, calling the album "often misunderstood and underrated".
The new line-up rehearsed for six weeks preparing for a full world tour, although the band were eventually forced to use the Sabbath name. "I was into the 'Tony Iommi project', but I wasn't into the Black Sabbath moniker," Hughes said. "The idea of being in Black Sabbath didn't appeal to me whatsoever. Glenn Hughes singing in Black Sabbath is like James Brown singing in Metallica. It wasn't gonna work." Just four days before the start of the tour, Hughes got into a bar fight with the band's production manager John Downing which splintered the singer's orbital bone. The injury interfered with Hughes' ability to sing, and the band brought in vocalist Ray Gillen to continue the tour with W.A.S.P. and Anthrax, although nearly half of the U.S. dates would be cancelled because of poor ticket sales.
Black Sabbath began work on new material in October 1986 at Air Studios in Montserrat with producer Jeff Glixman. The recording was fraught with problems from the beginning, as Glixman left after the initial sessions to be replaced by producer Vic Coppersmith-Heaven. Bassist Dave Spitz quit over "personal issues", and former Rainbow and Ozzy Osbourne bassist Bob Daisley was brought in. Daisley re-recorded all of the bass tracks, and wrote the album's lyrics, but before the album was complete, he left to join Gary Moore's backing band, taking drummer Eric Singer with him. After problems with second producer Coppersmith-Heaven, the band returned to Morgan Studios in England in January 1987 to work with new producer Chris Tsangarides. While working in the United Kingdom, new vocalist Ray Gillen abruptly left Black Sabbath to form Blue Murder with guitarist John Sykes (ex-Tygers of Pan Tang, Thin Lizzy, Whitesnake).
1987–1990: Martin joins, The Eternal Idol, Headless Cross, and Tyr
The band enlisted heavy metal vocalist Tony Martin to re-record Gillen's tracks, and former Electric Light Orchestra drummer Bev Bevan to complete a few percussion overdubs. Before the release of the new album Black Sabbath accepted an offer to play six shows at Sun City, South Africa during the apartheid era. The band drew criticism from activists and artists involved with Artists United Against Apartheid, who had been boycotting South Africa since 1985. Drummer Bev Bevan refused to play the shows, and was replaced by Terry Chimes, formerly of the Clash.
After nearly a year in production, The Eternal Idol was released on 8 December 1987 and ignored by contemporary reviewers. On-line internet era reviews were mixed. AllMusic said that "Martin's powerful voice added new fire" to the band, and the album contained "some of Iommi's heaviest riffs in years." Blender gave the album two stars, claiming the album was "Black Sabbath in name only". The album would stall at No. 66 in the United Kingdom, while peaking at 168 in the U.S. The band toured in support of Eternal Idol in Germany, Italy and for the first time, Greece. In part due to a backlash from promoters over the South Africa incident, other European shows were cancelled. Bassist Dave Spitz left the band shortly before the tour, and was replaced by Jo Burt, formerly of Virginia Wolf.
Following the poor commercial performance of The Eternal Idol, Black Sabbath were dropped by both Vertigo Records and Warner Bros. Records, and signed with I.R.S. Records. The band took time off in 1988, returning in August to begin work on their next album. As a result of the recording troubles with Eternal Idol, Tony Iommi opted to produce the band's next album himself. "It was a completely new start", Iommi said. "I had to rethink the whole thing, and decided that we needed to build up some credibility again". Iommi enlisted former Rainbow drummer Cozy Powell, long-time keyboardist Nicholls and session bassist Laurence Cottle, and rented a "very cheap studio in England".
Black Sabbath released Headless Cross in April 1989, and it was also ignored by contemporary reviewers, although AllMusic contributor Eduardo Rivadavia gave the album four stars and called it "the finest non-Ozzy or Dio Black Sabbath album". Anchored by the number 62 charting single "Headless Cross", the album reached number 31 on the UK chart, and number 115 in the U.S. Queen guitarist Brian May, a good friend of Iommi's, played a guest solo on the song "When Death Calls". Following the album's release the band added touring bassist Neil Murray, formerly of Colosseum II, National Health, Whitesnake, Gary Moore's backing band, and Vow Wow.
The unsuccessful Headless Cross U.S. tour began in May 1989 with openers Kingdom Come and Silent Rage, but because of poor ticket sales, the tour was cancelled after just eight shows. The European leg of the tour began in September, where the band were enjoying chart success. After a string of Japanese shows the band embarked on a 23 date Russian tour with Girlschool. Black Sabbath was one of the first bands to tour Russia, after Mikhail Gorbachev opened the country to western acts for the first time in 1989.
The band returned to the studio in February 1990 to record Tyr, the follow-up to Headless Cross. While not technically a concept album, some of the album's lyrical themes are loosely based on Norse mythology. Tyr was released on 6 August 1990, reaching number 24 on the UK albums chart, but was the first Black Sabbath release not to break the Billboard 200 in the U.S. The album would receive mixed internet-era reviews, with AllMusic noting that the band "mix myth with metal in a crushing display of musical synthesis", while Blender gave the album just one star, claiming that "Iommi continues to besmirch the Sabbath name with this unremarkable collection". The band toured in support of Tyr with Circus of Power in Europe, but the final seven United Kingdom dates were cancelled because of poor ticket sales. For the first time in their career, the band's touring cycle did not include U.S. dates.
1990–1992: Dio rejoins and Dehumanizer
While on his Lock Up the Wolves U.S. tour in August 1990, former Sabbath vocalist Ronnie James Dio was joined onstage at the Roy Wilkins Auditorium by Geezer Butler to perform "Neon Knights". Following the show, the two expressed interest in rejoining Sabbath. Butler convinced Iommi, who in turn broke up the current lineup, dismissing vocalist Tony Martin and bassist Neil Murray. "I do regret that in a lot of ways," Iommi said. "We were at a good point then. We decided to [reunite with Dio] and I don't even know why, really. There's the financial aspect, but that wasn't it. I seemed to think maybe we could recapture something we had."
Dio and Butler joined Iommi and Cozy Powell in autumn 1990 to begin the next Sabbath release. While rehearsing in November, Powell suffered a broken hip when his horse died and fell on the drummer's legs. Unable to complete the album, Powell was replaced by former drummer Vinny Appice, reuniting the Mob Rules lineup, and the band entered the studio with producer Reinhold Mack. The year-long recording was plagued with problems, primarily stemming from writing tension between Iommi and Dio. Songs were rewritten multiple times. "It was just hard work," Iommi said. "We took too long on it, that album cost us a million dollars, which is bloody ridiculous." Dio recalled the album as difficult, but worth the effort: "It was something we had to really wring out of ourselves, but I think that's why it works. Sometimes you need that kind of tension, or else you end up making the Christmas album".
The resulting Dehumanizer was released on 22 June 1992. In the U.S., the album was released on 30 June 1992 by Reprise Records, as Dio and his namesake band were still under contract to the label at the time. While the album received mixed , it was the band's biggest commercial success in a decade. Anchored by the top 40 rock radio single "TV Crimes", the album peaked at number 44 on the Billboard 200. The album also featured "Time Machine", a version of which had been recorded for the 1992 film Wayne's World. Additionally, the perception among fans of a return of some semblance of the "real" Sabbath provided the band with much needed momentum.
Sabbath began touring in support of Dehumanizer in July 1992 with Testament, Danzig, Prong, and Exodus. While on tour, former vocalist Ozzy Osbourne announced his first retirement, and invited Sabbath to open for his solo band at the final two shows of his No More Tours tour in Costa Mesa, California. The band agreed, aside from Dio, who told Iommi, "I'm not doing that. I'm not supporting a clown." Dio spoke of the situation years later:
Dio quit Sabbath following a show in Oakland, California on 13 November 1992, one night before the band were set to appear at Osbourne's retirement show. Judas Priest vocalist Rob Halford stepped in at the last minute, performing two nights with the band. Iommi and Butler joined Osbourne and former drummer Ward on stage for the first time since 1985's Live Aid concert, performing a brief set of Sabbath songs. This set the stage for a longer-term reunion of the original lineup, though that plan proved short-lived. "Ozzy, Geezer, Tony and Bill announced the reunion of Black Sabbath – again," remarked Dio. "And I thought that it was a great idea. But I guess Ozzy didn't think it was such a great idea… I'm never surprised when it comes to whatever happens with them. Never at all. They are very predictable. They don't talk."
1992–1997: Martin rejoins, Cross Purposes, and Forbidden
Drummer Vinny Appice left the band following the reunion show to rejoin Ronnie James Dio's solo band, later appearing on Dio's Strange Highways and Angry Machines. Iommi and Butler enlisted former Rainbow drummer Bobby Rondinelli, and reinstated former vocalist Tony Martin. The band returned to the studio to work on new material, although the project was not originally intended to be released under the Black Sabbath name. As Geezer Butler explains:
Under pressure from their record label, the band released their seventeenth studio album, Cross Purposes, on 8 February 1994, under the Black Sabbath name. The album received mixed reviews, with Blender giving the album two stars, calling Soundgarden's 1994 album Superunknown "a far better Sabbath album than this by-the-numbers potboiler". AllMusic's Bradley Torreano called Cross Purposes "the first album since Born Again that actually sounds like a real Sabbath record". The album just missed the Top 40 in the UK reaching number 41, and also reached 122 on the Billboard 200 in the U.S. Cross Purposes contained the song "Evil Eye", which was co-written by Van Halen guitarist Eddie Van Halen, although uncredited because of record label restrictions. Touring in support of Cross Purposes began in February with Morbid Angel and Motörhead in the U.S. The band filmed a live performance at the Hammersmith Apollo on 13 April 1994, which was released on VHS accompanied by a CD, titled Cross Purposes Live. After the European tour with Cathedral and Godspeed in June 1994, drummer Bobby Rondinelli quit the band and was replaced by original Black Sabbath drummer Ward for five shows in South America.
Following the touring cycle for Cross Purposes, bassist Geezer Butler quit the band for the second time. "I finally got totally disillusioned with the last Sabbath album, and I much preferred the stuff I was writing to the stuff Sabbath were doing". Butler formed a solo project called GZR, and released Plastic Planet in 1995. The album contained the song "Giving Up the Ghost", which was critical of Tony Iommi for carrying on with the Black Sabbath name, with the lyrics: You plagiarised and parodied / the magic of our meaning / a legend in your own mind / left all your friends behind / you can't admit that you're wrong / the spirit is dead and gone ("I heard it's something about me..." said Iommi. "I had the album given to me a while back. I played it once, then somebody else had it, so I haven't really paid any attention to the lyrics... It's nice to see him doing his own thing – getting things off his chest. I don't want to get into a rift with Geezer. He's still a friend."
Following Butler's departure, newly returned drummer Ward once again left the band. Iommi reinstated former members Neil Murray on bass and Cozy Powell on drums, effectively reuniting the 1990 Tyr line-up. The band enlisted Body Count guitarist Ernie C to produce the new album, which was recorded in London in autumn of 1994. The album featured a guest vocal on "Illusion of Power" by Body Count vocalist Ice-T. The resulting Forbidden was released on 8 June 1995, but failed to chart in the U.S. The album was widely panned by critics; AllMusic's Bradley Torreano said "with boring songs, awful production, and uninspired performances, this is easily avoidable for all but the most enthusiastic fan"; while Blender magazine called Forbidden "an embarrassment... the band's worst album".
Black Sabbath embarked on a world tour in July 1995 with openers Motörhead and Tiamat, but two months into the tour, drummer Cozy Powell left the band, citing health issues, and was replaced by former drummer Bobby Rondinelli. "The members I had in the last lineup – Bobby Rondinelli, Neil Murray – they're great, great characters..." Iommi told Sabbath fanzine Southern Cross. "That, for me, was an ideal lineup. I wasn't sure vocally what we should do, but Neil Murray and Bobby Rondinelli I really got on well with."
After completing Asian dates in December 1995, Tony Iommi put the band on hiatus, and began work on a solo album with former Black Sabbath vocalist Glenn Hughes, and former Judas Priest drummer Dave Holland. The album was not officially released following its completion, although a widely traded bootleg called Eighth Star surfaced soon after. The album was officially released in 2004 as The 1996 DEP Sessions, with Holland's drums re-recorded by session drummer Jimmy Copley.
In 1997, Tony Iommi disbanded the current line-up to officially reunite with Ozzy Osbourne and the original Black Sabbath line-up. Vocalist Tony Martin claimed that an original line-up reunion had been in the works since the band's brief reunion at Ozzy Osbourne's 1992 Costa Mesa show, and that the band released subsequent albums to fulfill their record contract with I.R.S. Records. Martin later recalled Forbidden (1995) as a "filler album that got the band out of the label deal, rid of the singer, and into the reunion. However I wasn't privy to that information at the time". I.R.S. Records released a compilation album in 1996 to fulfill the band's contract, titled The Sabbath Stones, which featured songs from Born Again (1983) to Forbidden (1995).
1997–2006: Osbourne rejoins and Reunion
In the summer of 1997, Iommi, Butler and Osbourne reunited to coheadline the Ozzfest tour alongside Osbourne's solo band. The line-up featured Osbourne's drummer Mike Bordin filling in for Ward. "It started off with me going off to join Ozzy for a couple of numbers," explained Iommi, "and then it got into Sabbath doing a short set, involving Geezer. And then it grew as it went on… We were concerned in case Bill couldn't make it – couldn't do it – because it was a lot of dates, and important dates… The only rehearsal that we had to do was for the drummer. But I think if Bill had come in, it would have took a lot more time. We would have had to focus a lot more on him."
In December 1997, the group was joined by Ward, marking the first reunion of the original quartet since Osbourne's 1992 "retirement show". This lineup recorded two shows at the Birmingham NEC, released as the double album Reunion on 20 October 1998. The album reached number eleven on the Billboard 200, went platinum in the U.S. and spawned the single "Iron Man", which won Sabbath their first Grammy Award in 2000 for Best Metal Performance, 30 years after the song was originally released. Reunion featured two new studio tracks, "Psycho Man" and "Selling My Soul", both of which cracked the top 20 of the Billboard Mainstream Rock Tracks chart.
Shortly before a European tour in the summer of 1998, Ward suffered a heart attack and was temporarily replaced by former drummer Vinny Appice. Ward returned for a U.S. tour with openers Pantera, which began in January 1999 and continued through the summer, headlining the annual Ozzfest tour. Following these appearances, the band was put on hiatus while members worked on solo material. Iommi released his first official solo album, Iommi, in 2000, while Osbourne continued work on Down to Earth (2001).
Sabbath returned to the studio to work on new material with all four original members and producer Rick Rubin in the spring of 2001, but the sessions were halted when Osbourne was called away to finish tracks for his solo album in the summer. "It just came to an end…" Iommi said. "It's a shame because [the songs] were really Iommi commented on the difficulty getting all the members together to work:
In March 2002, Osbourne's Emmy-winning reality show The Osbournes debuted on MTV, and quickly became a worldwide hit. The show introduced Osbourne to a broader audience and to capitalise, the band's back catalogue label, Sanctuary Records released a double live album Past Lives (2002), which featured concert material recorded in the 1970s, including the Live at Last (1980) album. The band remained on hiatus until the summer of 2004 when they returned to headline Ozzfest 2004 and 2005. In November 2005, Black Sabbath were inducted into the UK Music Hall of Fame, and in March 2006, after eleven years of eligibility—Osbourne famously refused the Hall's "meaningless" initial nomination in 1999—the band were inducted into the U.S. Rock and Roll Hall of Fame. At the awards ceremony Metallica played two Sabbath songs, "Hole in the Sky" and "Iron Man" in tribute.
2006–2010: The Dio Years and Heaven & Hell
While Ozzy Osbourne was working on new solo album material in 2006, Rhino Records released Black Sabbath: The Dio Years, a compilation of songs culled from the four Black Sabbath releases featuring Ronnie James Dio. For the release, Iommi, Butler, Dio, and Appice reunited to write and record three new songs as Black Sabbath. The Dio Years was released on 3 April 2007, reaching number 54 on the Billboard 200, while the single "The Devil Cried" reached number 37 on the Mainstream Rock Tracks chart. Pleased with the results, Iommi and Dio decided to reunite the Dio era line-up for a world tour. While the line-up of Osbourne, Butler, Iommi, and Ward was still officially called Black Sabbath, the new line-up opted to call themselves Heaven & Hell, after the album of the same title, to avoid confusion. When asked about the name of the group, Iommi stated "it really is Black Sabbath, whatever we do... so everyone knows what they're getting [and] so people won't expect to hear 'Iron Man' and all those songs. We've done them for so many years, it's nice to do just all the stuff we did with Ronnie again."
Ward was initially set to participate, but dropped out before the tour began due to musical differences with "a couple of the band members". He was replaced by former drummer Vinny Appice, effectively reuniting the line-up that had featured on the Mob Rules (1981) and Dehumanizer (1992) albums.
Heaven & Hell toured the U.S. with openers Megadeth and Machine Head, and recorded a live album and DVD in New York on 30 March 2007, titled Live from Radio City Music Hall. In November 2007, Dio confirmed that the band had plans to record a new studio album, which was recorded in the following year. In April 2008 the band announced the upcoming release of a new box set and their participation in the Metal Masters Tour, alongside Judas Priest, Motörhead and Testament. The box set, The Rules of Hell, featuring remastered versions of all the Dio fronted Black Sabbath albums, was supported by the Metal Masters Tour. In 2009, the band announced the title of their debut studio album, The Devil You Know, released on 28 April.
On 26 May 2009, Osbourne filed suit in a federal court in New York against Iommi alleging that he illegally claimed the band name. Iommi noted that he has been the only constant band member for its full 41-year career and that his bandmates relinquished their rights to the name in the 1980s, therefore claiming more rights to the name of the band. Although in the suit, Osbourne was seeking 50% ownership of the trademark, he said that he hoped the proceedings would lead to equal ownership among the four original members.
In March 2010, Black Sabbath announced that along with Metallica they would be releasing a limited edition single together to celebrate Record Store Day. It was released on 17 April 2010. Ronnie James Dio died on 16 May 2010 from stomach cancer. In June 2010, the legal battle between Ozzy Osbourne and Tony Iommi over the trademarking of the Black Sabbath name ended, but the terms of the settlement have not been disclosed.
2010–2014: Second Osbourne reunion and 13
In a January 2010 interview while promoting his biography I Am Ozzy, Osbourne stated that although he would not rule it out, he was doubtful there would be a reunion with all four original members of the band. Osbourne stated: "I'm not gonna say I've written it out forever, but right now I don't think there's any chance. But who knows what the future holds for me? If it's my destiny, fine." In July, Butler said that there would be no reunion in 2011, as Osbourne was already committed to touring with his solo band. However, by that August they had already met up to rehearse together, and continued to do so through the autumn.
On 11 November 2011, Iommi, Butler, Osbourne, and Ward announced that they were reuniting to record a new album with a full tour in support beginning in 2012. Guitarist Iommi was diagnosed with lymphoma on 9 January 2012, which forced the band to cancel all but two shows (Download Festival, and Lollapalooza Festival) of a previously booked European tour. It was later announced that an intimate show would be played in their hometown Birmingham. It was the first concert since the reunion and the only indoors concerts that year. In February 2012, drummer Ward announced that he would not participate further in the band's reunion until he was offered a "signable contract".
On 21 May 2012, at the O2 Academy in Birmingham, Black Sabbath played their first concert since 2005, with Tommy Clufetos playing the drums. In June, they performed at the Download Festival at the Donington Park motorsports circuit in Leicestershire, England, followed by the last concert of the short tour at Lollapalooza Festival in Chicago. Later that month, the band started recording an album.
On 13 January 2013, the band announced that the album would be released in June under the title 13. Brad Wilk of Rage Against the Machine was chosen as the drummer, and Rick Rubin was chosen as the producer. Mixing of the album commenced in February. On 12 April 2013, the band released the album's track listing. The standard version of the album features eight new tracks, and the deluxe version features three bonus tracks.
The band's first single from 13, "God Is Dead?", was released on 19 April 2013. On 20 April 2013, Black Sabbath commenced their first Australia/New Zealand tour in 40 years followed by a North American Tour in Summer 2013. The second single of the album, "End of the Beginning", debuted on 15 May in a CSI: Crime Scene Investigation episode, where all three members appeared. In June 2013, 13 topped both the UK Albums Chart and the U.S. Billboard 200, becoming their first album to reach number one on the latter chart. In 2014, Black Sabbath received their first Grammy Award since 2000 with "God Is Dead?" winning Best Metal Performance.
In July 2013, Black Sabbath embarked on a North American Tour (for the first time since July 2001), followed by a Latin American tour in October 2013. In November 2013, the band started their European tour which lasted until December 2013. In March and April 2014, they made 12 stops in North America (mostly in Canada) as the second leg of their North American Tour before embarking in June 2014 on the second leg of their European tour, which ended with a concert at London's Hyde Park.
2014–2017: Cancelled twentieth album, The End, and disbandment
On 29 September 2014, Osbourne told Metal Hammer that Black Sabbath would begin work on their twentieth studio album in early 2015 with producer Rick Rubin, followed by a final tour in 2016. In an April 2015 interview, however, Osbourne said that these plans "could change", and added, "We all live in different countries and some of them want to work and some of them don't want to, I believe. But we are going to do another tour together."
On 3 September 2015, it was announced that Black Sabbath would embark on their final tour, titled The End, from January 2016 to February 2017. Numerous dates and locations across the U.S., Canada, Europe, Australia and New Zealand were announced. The final shows of The End tour took place at the Genting Arena in their home city of Birmingham, England on 2 and 4 February 2017. On 26 October 2015, it was announced the band consisting of Osbourne, Iommi and Butler would be returning to the Download Festival on 11 June 2016. Despite earlier reports that they would enter the studio before their farewell tour, Osbourne stated that there would not be another Black Sabbath studio album. However, an 8-track CD entitled The End was sold at dates on the tour. Along with some live recordings, the CD includes four unused tracks from the 13 sessions.
On 4 March 2016, Iommi discussed future re-releases of the Tony Martin-era catalogue: "We've held back on the reissues of those albums because of the current Sabbath thing with Ozzy Osbourne, but they will certainly be happening... I'd like to do a couple of new tracks for those releases with Tony Martin... I'll also be looking at working on Cross Purposes and Forbidden." Martin had suggested that this could coincide with the 30th anniversary of The Eternal Idol, in 2017. In an interview that August, Martin added "[Iommi] still has his cancer issues of course and that may well stop it all from happening but if he wants to do something I am ready." On 10 August 2016, Iommi revealed that his cancer was in remission.
Asked in November 2016 about his plans after Black Sabbath's final tour, Iommi replied, "I'll be doing some writing. Maybe I'll be doing something with the guys, maybe in the studio, but no touring." The band played their final concert on 4 February 2017 in Birmingham. The final song was streamed live on the band's Facebook page and fireworks went off as the band took their final bow. The band's final tour was not an easy one, as longstanding tensions between Osbourne and Iommi returned to the surface. Iommi stated that he would not rule out the possibility of one-off shows, "I wouldn't write that off, if one day that came about. That's possible. Or even doing an album, 'cause then, again, you're in one place. But I don't know if that would happen." In an April 2017 interview, Butler revealed that Black Sabbath considered making a blues album as the follow-up to 13, but added that, "the tour got in the way."
On 7 March 2017, Black Sabbath announced their disbandment through posts made on their official social media accounts.
2017–present: Aftermath
In a June 2018 interview with ITV News, Osbourne expressed interest in reuniting with Black Sabbath for a performance at the 2022 Commonwealth Games which is due to be held in their home city Birmingham. Iommi said that performing at the event as Black Sabbath would be "a great thing to do to help represent Birmingham. I'm up for it. Let's see what happens." He also did not rule out the possibility for the band to reform only for a one-off performance rather than a full-length tour.
In September 2020, Osbourne stated in an interview that he was no longer interested in a reunion: "Not for me. It's done. The only thing I do regret is not doing the last farewell show in Birmingham with Bill Ward. I felt really bad about that. It would have been so nice. I don't know what the circumstances behind it were, but it would have been nice. I've talked to Tony a few times, but I don't have any of the slightest interest in doing another gig. Maybe Tony's getting bored now." Butler also ruled out the possibility of any future Black Sabbath performances in an interview with Eonmusic on 10 November 2020, stating that the band is over: "There will definitely be no more Sabbath. It's done." Iommi however, pondered the possibility of another reunion tour in an interview with The Mercury News, stating that he "would like to play with the guys again" and that he misses the audiences and stage. Bill Ward stated in an interview with Eddie Trunk that he no longer has the ability or chops to perform with Black Sabbath in concert, but expressed that he would love to make another album with Osbourne, Butler and Iommi.
Despite ruling out the possibility of another Black Sabbath reunion, Osbourne revealed in an episode of Ozzy Speaks on Ozzy's Boneyard that he is working with Iommi, who will appear as one of the guests for his upcoming thirteenth solo album. In an October 2021 interview with the Metro, Ward revealed that he has kept "in contact" with his former bandmates and stated that he is "very open-minded" to the possibility of recording another Black Sabbath album: "I haven't spoken to the guys about it, but I have talked to a couple of people in management about the possibility of making a recording."
On 30 September 2020, Black Sabbath announced a new Dr. Martens shoe collection. The partnership with the British footwear company celebrated the 50th anniversaries of the band's Black Sabbath and Paranoid albums, with the boots depicting artwork from the former. On 13 January 2021, the band announced that they would reissue both Heaven & Hell and Mob Rules as expanded deluxe editions on 5 March 2021, with unreleased material included.
Musical style
Black Sabbath were a heavy metal band, whose music has also been described as psychedelic rock, and acid rock. The band have also been cited as a key influence on genres including stoner rock, grunge, doom metal, and sludge metal. Early on, Black Sabbath were influenced by Cream, The Beatles, Fleetwood Mac, Jimi Hendrix, John Mayall & the Bluesbreakers, Blue Cheer, Led Zeppelin, and Jethro Tull.
Although Black Sabbath went through many line-ups and stylistic changes, their core sound focuses on ominous lyrics and doomy music, often making use of the musical tritone, also called the "devil's interval". While their Ozzy-era albums such as Sabbath Bloody Sabbath (1973) had slight compositional similarities to the progressive rock genre that was growing in popularity at the time, standing in stark contrast to popular music of the early 1970s, Black Sabbath's dark sound was dismissed by rock critics of the era. Much like many of their early heavy metal contemporaries, the band received virtually no airplay on rock radio.
As the band's primary songwriter, Tony Iommi wrote the majority of Black Sabbath's music, while Osbourne would write vocal melodies, and bassist Geezer Butler would write lyrics. The process was sometimes frustrating for Iommi, who often felt pressured to come up with new material: "If I didn't come up with anything, nobody would do anything." On Iommi's influence, Osbourne later said:
Beginning with their third album, Master of Reality (1971), Black Sabbath began to feature tuned-down guitars. In 1965, before forming Black Sabbath, guitarist Tony Iommi suffered an accident while working in a sheet metal factory, losing the tips of two fingers on his right hand. Iommi almost gave up music, but was urged by the factory manager to listen to Django Reinhardt, a jazz guitarist who lost the use of two fingers in a fire. Inspired by Reinhardt, Iommi created two thimbles made of plastic and leather to cap off his missing fingertips. The guitarist began using lighter strings, and detuning his guitar, to better grip the strings with his prosthesis. Early in the band's history Iommi experimented with different dropped tunings, including C tuning, or 3 semitones down, before settling on E/D tuning, or a half-step down from standard tuning.
Legacy
Black Sabbath has sold over 70 million records worldwide, including a RIAA-certified 15 million in the U.S. They are one of the most influential heavy metal bands of all time. The band helped to create the genre with ground-breaking releases such as Paranoid (1970), an album that Rolling Stone magazine said "changed music forever", and called the band "the Beatles of heavy metal". Time magazine called Paranoid "the birthplace of heavy metal", placing it in their Top 100 Albums of All Time.
MTV placed Black Sabbath at number one on their Top Ten Heavy Metal Bands and VH1 placed them at number two on their list of the 100 Greatest Artists of Hard Rock. VH1 ranked Black Sabbath's "Iron Man" the number one song on their 40 Greatest Metal Songs countdown. Rolling Stone magazine ranked the band number 85 in their list of the "100 Greatest Artists of All Time". AllMusic's William Ruhlmann said:
According to Rolling Stone Holly George-Warren, "Black Sabbath was the heavy metal king of the 1970s." Although initially "despised by rock critics and ignored by radio programmers", the group sold more than 8 million albums by the end of that decade. "The heavy metal band…" marvelled Ronnie James Dio. "A band that didn't apologise for coming to town; it just stepped on buildings when it came to town."
Influence and innovation
Black Sabbath have influenced many acts including Judas Priest, Iron Maiden, Diamond Head, Slayer, Metallica, Nirvana, Korn, Black Flag, Mayhem, Venom, Guns N' Roses, Soundgarden, Body Count, Alice in Chains, Anthrax, Disturbed, Death, Opeth, Pantera, Megadeth, the Smashing Pumpkins, Slipknot, Foo Fighters, Fear Factory, Candlemass, Godsmack, and Van Halen. Two gold selling tribute albums have been released, Nativity in Black Volume 1 & 2, including covers by Sepultura, White Zombie, Type O Negative, Faith No More, Machine Head, Primus, System of a Down, and Monster Magnet.
Metallica's Lars Ulrich, who, along with bandmate James Hetfield inducted Black Sabbath into the Rock and Roll Hall of Fame in 2006, said "Black Sabbath is and always will be synonymous with heavy metal", while Hetfield said "Sabbath got me started on all that evil-sounding shit, and it's stuck with me. Tony Iommi is the king of the heavy riff." Guns N' Roses guitarist Slash said of the Paranoid album: "There's just something about that whole record that, when you're a kid and you're turned onto it, it's like a whole different world. It just opens up your mind to another dimension...Paranoid is the whole Sabbath experience; very indicative of what Sabbath meant at the time. Tony's playing style—doesn't matter whether it's off Paranoid or if it's off Heaven and Hell—it's very distinctive." Anthrax guitarist Scott Ian said "I always get the question in every interview I do, 'What are your top five metal albums?' I make it easy for myself and always say the first five Sabbath albums."
Lamb of God's Chris Adler said: "If anybody who plays heavy metal says that they weren't influenced by Black Sabbath's music, then I think that they're lying to you. I think all heavy metal music was, in some way, influenced by what Black Sabbath did." Judas Priest vocalist Rob Halford commented: "They were and still are a groundbreaking band...you can put on the first Black Sabbath album and it still sounds as fresh today as it did 30-odd years ago. And that's because great music has a timeless ability: To me, Sabbath are in the same league as the Beatles or Mozart. They're on the leading edge of something extraordinary." On Black Sabbath's standing, Rage Against the Machine guitarist Tom Morello states: "The heaviest, scariest, coolest riffs and the apocalyptic Ozzy wail are without peer. You can hear the despair and menace of the working-class Birmingham streets they came from in every kick-ass, evil groove. Their arrival ground hippy, flower-power psychedelia to a pulp and set the standard for all heavy bands to come." Phil Anselmo of Pantera and Down stated that "Only a fool would leave out what Black Sabbath brought to the heavy metal genre".
According to Tracii Guns of L.A. Guns and former member of Guns N' Roses, the main riff of "Paradise City" by Guns N' Roses, from Appetite for Destruction (1987), was influenced by the song "Zero the Hero" from the Born Again album. King Diamond guitarist Andy LaRocque affirmed that the clean guitar part of "Sleepless Nights" from Conspiracy (1989) is inspired by Tony Iommi's playing on Never Say Die!.
In addition to being pioneers of heavy metal, they also have been credited for laying the foundations for heavy metal subgenres stoner rock, sludge metal, thrash metal, black metal and doom metal as well as for alternative rock subgenre grunge. According to the critic Bob Gulla, the band's sound "shows up in virtually all of grunge's most popular bands, including Nirvana, Soundgarden, and Alice in Chains".
Tony Iommi has been credited as the pioneer of lighter gauge guitar strings. The tips of his fingers were severed in a steel factory, and while using thimbles (artificial finger tips) he found that standard guitar strings were too difficult to bend and play. He found that there was only one size of strings available, so after years with Sabbath he had strings custom made.
Culturally, Black Sabbath have exerted a huge influence in both television and literature and have in many cases become synonymous with heavy metal. In the film Almost Famous, Lester Bangs gives the protagonist an assignment to cover the band (plot point one) with the immortal line: 'Give me 500 words on Black Sabbath'. Contemporary music and arts publication Trebuchet Magazine has put this to practice by asking all new writers to write a short piece (500 words) on Black Sabbath as a means of proving their creativity and voice on a well documented subject.
Band members
Original lineup
Tony Iommi – guitars
Bill Ward – drums
Geezer Butler – bass
Ozzy Osbourne – vocals, harmonica
Discography
Black Sabbath (1970)
Paranoid (1970)
Master of Reality (1971)
Vol. 4 (1972)
Sabbath Bloody Sabbath (1973)
Sabotage (1975)
Technical Ecstasy (1976)
Never Say Die! (1978)
Heaven and Hell (1980)
Mob Rules (1981)
Born Again (1983)
Seventh Star (1986)
The Eternal Idol (1987)
Headless Cross (1989)
Tyr (1990)
Dehumanizer (1992)
Cross Purposes (1994)
Forbidden (1995)
13'' (2013)
Tours
Polka Tulk Blues/Earth Tour 1968–1969
Black Sabbath Tour 1970
Paranoid Tour 1970–1971
Master of Reality Tour 1971–1972
Vol. 4 Tour 1972–1973
Sabbath Bloody Sabbath Tour 1973–1974
Sabotage Tour 1975–1976
Technical Ecstasy Tour 1976–1977
Never Say Die! Tour 1978
Heaven & Hell Tour 1980–1981
Mob Rules Tour 1981–1982
Born Again Tour 1983
Seventh Star Tour 1986
Eternal Idol Tour 1987
Headless Cross Tour 1989
Tyr Tour 1990
Dehumanizer Tour 1992
Cross Purposes Tour 1994
Forbidden Tour 1995
Ozzfest Tour 1997
European Tour 1998
Reunion Tour 1998–1999
Ozzfest Tour 1999
U.S. Tour 1999
European Tour 1999
Ozzfest Tour 2001
Ozzfest Tour 2004
European Tour 2005
Ozzfest Tour 2005
Black Sabbath Reunion Tour, 2012–2014
The End Tour 2016–2017
See also
List of cover versions of Black Sabbath songs
Heavy metal groups
References
Sources
External links
Black Sabbath biography by James Christopher Monger, discography and album reviews, credits & releases at AllMusic
Black Sabbath discography, album releases & credits at Discogs.com
Musical groups established in 1968
Musical groups disestablished in 2006
Musical groups reestablished in 2011
Musical groups disestablished in 2017
English heavy metal musical groups
Grammy Lifetime Achievement Award winners
1968 establishments in England
2017 disestablishments in England
Kerrang! Awards winners
I.R.S. Records artists
Vertigo Records artists
Musical groups from Birmingham, West Midlands
Musical quartets
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[
"\"What Is Love\" is a song by Haddaway. \n\nWhat Is Love may also refer to:\n\nBooks\nWhat Is Love?, 1928 novel by E. M. Delafield\n What Is Love? (picture book), a 2021 picture book written by Mac Barnett and illustrated by Carson Ellis\n\nFilm and television\n Nishwartha Bhalobasa (What Is Love), a 2013 Bangladeshi film directed by Ananta Jalil\n What Is Love (TV series), 2012 Taiwanese series\n Just Only Love, a 2018 Japanese film also known as What Is Love?\n\nMusic\n\nAlbums\n What Is Love? (Andrea Marcovicci album), 1992\n What Is Love? (Never Shout Never album), 2010\n What Is Love? (Clean Bandit album), 2018\n What Is Love? (EP) by Twice, 2018\n\nSongs\n \"What Is Love?\", a song recorded by The Playmates, 1959\n \"What Is Love?\" (Howard Jones song), 1983\n \"What Is Love\" (En Vogue song), 1993\n \"What Is Love\", a song by Exo from the 2012 EP Mama\n \"What Is Love?\", a song by Irving Berlin\n \"(What Is) Love?\", a song by Jennifer Lopez from the 2011 album Love?\n \"What Is Love?\", a song by Dr. Nathaniel Irvin III and Roman Irvin, Janelle Monáe from soundtrack of Rio 2\n \"What Is Love\", a song by Take That from the 2008 album The Circus\n \"What Is Love?\", a song by Johnny \"Guitar\" Watson\n \"What Is Love?\", a song by Debbie Harry\n \"What Is Love?\", a song by Sound Tribe Sector 9\n \"What Is Love\", a single by Miriam Makeba from the 1967 album Pata Pata\n \"What Is Love?\" (Twice song), 2018\n \"What Is Love\" (V. Bozeman song), 2015\n\nSee also\n What's Love (disambiguation)",
"\"All We Need Is Love\" is a 2014 song by Australian singer Ricki-Lee Coulter.\n\nAll We Need Is Love may also refer to:\nAll We Need Is Love (album), an album by Stefanie Heinzmann\n\"All We Need Is Love\", a 2000 single by Landsholdet, the Denmark national football team\n\"All We Need Is Love\", a song by Ric Ocasek from the 1991 album Fireball Zone\n\"All We Need Is Love\", a song by Elizabeth Cook from the album This Side of the Moon\n\"All We Need Is Love\", a song by the Leningrad Cowboys from the 2011 album Buena Vodka Social Club\n\"All We Need Is Love (Christmas in the Yard)\", a song by The Big Yard Family featuring Shaggy from Now That's What I Call Christmas!\n\"All We Need Is Love\", a 1977 single by Kelly Marie"
] |
[
"Black Sabbath",
"Born Again (1983-1984)",
"Is Born Again the name of a Black Sabbath album?",
"Born Again (7 August 1983) was panned upon release by critics. Despite the negative reception of the album,",
"What is a single from the album?",
"The band headlined the 1983 Reading Festival in England, adding the Deep Purple song \"Smoke on the Water\" to their set list."
] |
C_33cdd6eae6294662ac88929b38897497_1
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How did Born Again do on the music charts?
| 3 |
How did Born Again by Black Sabbath do on the music charts?
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Black Sabbath
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The remaining two original members, Tony Iommi and Geezer Butler, began auditioning new singers for the band's next release. Samson's Nicky Moore, and Lone Star's John Sloman were considered and Iommi states in his autobiography that Michael Bolton auditioned for the band. The band settled on former Deep Purple vocalist Ian Gillan to replace Ronnie James Dio in December 1982. While the project was not initially set to be called Black Sabbath, pressures from the record label forced the group to retain the name. The band entered The Manor Studios in Shipton-on-Cherwell, Oxfordshire, in June 1983 with a returned and newly sober Bill Ward on drums. Born Again (7 August 1983) was panned upon release by critics. Despite the negative reception of the album, it reached number four on the UK charts, and number 39 in the U.S. Even a decade after its release AllMusic's Eduardo Rivadavia called the album "dreadful", noting that "Gillan's bluesy style and humorous lyrics were completely incompatible with the lords of doom and gloom". Although he performed on the album, drummer Ward was unable to tour because of the pressures of the road, and quit the band after the commencement of the Born Again album. "I fell apart with the idea of touring", Ward later said. "I got so much fear behind touring, I didn't talk about the fear, I drank behind the fear instead and that was a big mistake." Ward was replaced by former Electric Light Orchestra drummer Bev Bevan for the Born Again '83 -'84 world tour, (often unofficially referred to as the 'Feigh Death Sabbath '83 - '84' World Tour) which began in Europe with Diamond Head, and later in the U.S. with Quiet Riot and Night Ranger. The band headlined the 1983 Reading Festival in England, adding the Deep Purple song "Smoke on the Water" to their set list. The tour in support of Born Again included a giant set of the Stonehenge monument. In a move that would be later parodied in the mockumentary This Is Spinal Tap, the band made a mistake in ordering the set piece. As Geezer Butler later explained: We had Sharon Osbourne's dad, Don Arden, managing us. He came up with the idea of having the stage set be Stonehenge. He wrote the dimensions down and gave it to our tour manager. He wrote it down in metres but he meant to write it down in feet. The people who made it saw fifteen metres instead of fifteen feet. It was 45 feet high and it wouldn't fit on any stage anywhere so we just had to leave it in the storage area. It cost a fortune to make but there was not a building on earth that you could fit it into. CANNOTANSWER
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Despite the negative reception of the album, it reached number four on the UK charts, and number 39 in the U.S.
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Black Sabbath were an English rock band formed in Birmingham in 1968 by guitarist Tony Iommi, drummer Bill Ward, bassist Geezer Butler and vocalist Ozzy Osbourne. They are often cited as pioneers of heavy metal music. The band helped define the genre with releases such as Black Sabbath (1970), Paranoid (1970), and Master of Reality (1971). The band had multiple line-up changes following Osbourne's departure in 1979, with Iommi being the only constant member throughout its history.
After previous iterations of the group called the Polka Tulk Blues Band and Earth, the band settled on the name Black Sabbath in 1969. They distinguished themselves through occult themes with horror-inspired lyrics and down-tuned guitars. Signing to Philips Records in November 1969, they released their first single, "Evil Woman" in January 1970. Their debut album, Black Sabbath, was released the following month. Though it received a negative critical response, the album was a commercial success, leading to a follow-up record, Paranoid, later that year. The band's popularity grew, and by 1973's Sabbath Bloody Sabbath, critics were starting to respond favourably.
Osbourne's excessive substance abuse led to his firing in 1979. He was replaced by former Rainbow vocalist Ronnie James Dio. Following two albums with Dio, Black Sabbath endured many personnel changes in the 1980s and 1990s that included vocalists Ian Gillan, Glenn Hughes, Ray Gillen and Tony Martin, as well as several drummers and bassists. Martin, who replaced Gillen in 1987, was the second longest serving vocalist and recorded three albums with Black Sabbath before his dismissal in 1991. That same year, Iommi and Butler were rejoined by Dio and drummer Vinny Appice to record Dehumanizer (1992). After two more studio albums with Martin, who replaced Dio in 1993, the band's original line-up reunited in 1997 and released a live album Reunion the following year; they continued to tour occasionally until 2005. Other than various back catalogue reissues and compilation albums, as well as the Mob Rules-era lineup reunited as Heaven & Hell, there was no further activity under the Black Sabbath name for six years. They reunited in 2011 and released their final studio album and nineteenth overall, 13 (2013), which features all of the original members except Ward. During their farewell tour, the band played their final concert in their home city of Birmingham on 4 February 2017.
Black Sabbath have sold over 70 million records worldwide as of 2013, making them one of the most commercially successful heavy metal bands. They were ranked by MTV as the "Greatest Metal Band" of all time, and placed second in VH1's "100 Greatest Artists of Hard Rock" list. Rolling Stone magazine ranked them number 85 on their "100 Greatest Artists of All Time". Black Sabbath were inducted into the UK Music Hall of Fame in 2005 and the Rock and Roll Hall of Fame in 2006. They have also won two Grammy Awards for Best Metal Performance, and in 2019 the band were presented a Grammy Lifetime Achievement Award.
History
1968–1969: Formation and early days
Following the break-up of their previous band Mythology in 1968, guitarist Tony Iommi and drummer Bill Ward sought to form a heavy blues rock band in Aston, Birmingham. They enlisted bassist Geezer Butler and vocalist Ozzy Osbourne, who had played together in a band called Rare Breed, Osbourne having placed an advertisement in a local music shop: "OZZY ZIG Needs Gig – has own PA". The new group was initially named the Polka Tulk Blues Band, the name taken either from a brand of talcum powder or an Indian/Pakistani clothing shop; the exact origin is confused. The Polka Tulk Blues Band included slide guitarist Jimmy Phillips, a childhood friend of Osbourne's, and saxophonist Alan "Aker" Clarke. After shortening the name to Polka Tulk, the band again changed their name to Earth (which Osbourne hated) and continued as a four-piece without Phillips and Clarke. Iommi became concerned that Phillips and Clarke lacked the necessary dedication and were not taking the band seriously. Rather than asking them to leave, they instead decided to break up and then quietly reformed the band as a four-piece. While the band was performing under the Earth title, they recorded several demos written by Norman Haines such as "The Rebel", "Song for Jim", and "When I Came Down". The demo titled "Song for Jim" was in reference to Jim Simpson. Simpson was a manager for the bands Bakerloo Blues Line and Tea & Symphony, as well as being trumpet player for the group Locomotive. Simpson had recently started a new club named Henry's Blueshouse at The Crown Hotel in Birmingham and offered to let Earth play there after they agreed to waive the usual support band fee in return for free t-shirts. The audience response was positive and Simpson agreed to manage Earth.
In December 1968, Iommi abruptly left Earth to join Jethro Tull. Although his stint with the band would be short-lived, Iommi made an appearance with Jethro Tull on The Rolling Stones Rock and Roll Circus TV show. Unsatisfied with the direction of Jethro Tull, Iommi returned to Earth by the end of the month. "It just wasn't right, so I left", Iommi said. "At first I thought Tull were great, but I didn't much go for having a leader in the band, which was Ian Anderson's way. When I came back from Tull, I came back with a new attitude altogether. They taught me that to get on, you got to work for it."
While playing shows in England in 1969, the band discovered they were being mistaken for another English group named Earth. They decided to change their name again. A cinema across the street from the band's rehearsal room was showing the 1963 horror film Black Sabbath starring Boris Karloff and directed by Mario Bava. While watching people line up to see the film, Butler noted that it was "strange that people spend so much money to see scary movies". Following that, Osbourne and Butler wrote the lyrics for a song called "Black Sabbath", which was inspired by the work of horror and adventure-story writer Dennis Wheatley, along with a vision that Butler had of a black silhouetted figure standing at the foot of his bed. Making use of the musical tritone, also known as "the Devil's Interval", the song's ominous sound and dark lyrics pushed the band in a darker direction, a stark contrast to the popular music of the late 1960s, which was dominated by flower power, folk music, and hippie culture. Judas Priest frontman Rob Halford has called the track "probably the most evil song ever written". Inspired by the new sound, the band changed their name to Black Sabbath in August 1969, and made the decision to focus on writing similar material, in an attempt to create the musical equivalent of horror films.
1969–1971: Black Sabbath and Paranoid
The band's first show as Black Sabbath took place on 30 August 1969, in Workington, England. They were signed to Philips Records in November 1969, and released their first single, "Evil Woman" (a cover of a song by the band Crow), recorded at Trident Studios, through Philips subsidiary Fontana Records in January 1970. Later releases were handled by Philips' newly formed progressive rock label, Vertigo Records.
Black Sabbath's first major exposure came when the band appeared on John Peel's Top Gear radio show in 1969, performing "Black Sabbath", "N.I.B.", "Behind the Wall of Sleep", and "Sleeping Village" to a national audience in Great Britain shortly before recording of their first album commenced. Although the "Evil Woman" single failed to chart, the band were afforded two days of studio time in November to record their debut album with producer Rodger Bain. Iommi recalls recording live: "We thought 'We have two days to do it and one of the days is mixing.' So we played live. Ozzy was singing at the same time, we just put him in a separate booth and off we went. We never had a second run of most of the stuff."
Black Sabbath was released on Friday the 13th, February 1970, and reached number 8 in the UK Albums Chart. Following its U.S. and Canadian release in May 1970 by Warner Bros. Records, the album reached number 23 on the Billboard 200, where it remained for over a year. The album was given negative reviews by many critics. Lester Bangs dismissed it in a Rolling Stone review as "discordant jams with bass and guitar reeling like velocitised speedfreaks all over each other's musical perimeters, yet never quite finding synch". It sold in substantial numbers despite being panned, giving the band their first mainstream exposure. It has since been certified platinum in both U.S. by the Recording Industry Association of America (RIAA) and in the UK by British Phonographic Industry (BPI), and is now generally accepted as the first heavy metal album.
The band returned to the studio in June 1970, just four months after Black Sabbath was released. The new album was initially set to be named War Pigs after the song "War Pigs", which was critical of the Vietnam War; however, Warner changed the title of the album to Paranoid. The album's lead-off single, "Paranoid", was written in the studio at the last minute. Ward explains: "We didn't have enough songs for the album, and Tony just played the [Paranoid] guitar lick and that was it. It took twenty, twenty-five minutes from top to bottom." The single was released in September 1970 and reached number four on the UK Singles Chart, remaining Black Sabbath's only top ten hit. The album followed in the UK in October 1970, where, pushed by the success of the "Paranoid" single, it made number one in the UK Albums Chart.
The U.S. release was held off until January 1971, as the Black Sabbath album was still on the chart at the time of Paranoids UK release. The album reached No. 12 in the U.S. in March 1971, and would go on to sell four million copies in the U.S., with virtually no radio airplay. Like Black Sabbath, the album was panned by rock critics of the era, but modern-day reviewers such as AllMusic's Steve Huey cite Paranoid as "one of the greatest and most influential heavy metal albums of all time", which "defined the sound and style of heavy metal more than any other record in rock history". The album was ranked at No. 131 on Rolling Stone magazine's list of The 500 Greatest Albums of All Time. Paranoids chart success allowed the band to tour the U.S. for the first time (playing their first U.S. show at a club called Ungano's at 210 West 70th Street in New York City) and spawned the release of the album's second single "Iron Man". Although the single failed to reach the top 40, "Iron Man" remains one of Black Sabbath's most popular songs, as well as the band's highest charting U.S. single until 1998's "Psycho Man".
1971–1973: Master of Reality and Volume 4
In February 1971, after a one-off performance at the Myponga Pop Festival in Australia, Black Sabbath returned to the studio to begin work on their third album. Following the chart success of Paranoid, the band were afforded more studio time, along with a "briefcase full of cash" to buy drugs. "We were getting into coke, big time", Ward explained. "Uppers, downers, Quaaludes, whatever you like. It got to the stage where you come up with ideas and forget them, because you were just so out of it."
Production completed in April 1971, in July the band released Master of Reality, just six months after the U.S. release of Paranoid. The album reached the top ten in the U.S. and the United Kingdom, and was certified gold in less than two months, eventually receiving platinum certification in the 1980s and Double Platinum in the early 21st century. It contained Sabbath's first acoustic songs, alongside fan favourites such as "Children of the Grave" and "Sweet Leaf". Critical response of the era was generally unfavourable, with Lester Bangs delivering an ambivalent review of Master of Reality in Rolling Stone, describing the closing "Children of the Grave" as "naïve, simplistic, repetitive, absolute doggerel – but in the tradition [of rock'n'roll]... The only criterion is excitement, and Black Sabbath's got it". (In 2003, Rolling Stone would place the album at number 300 on their 500 Greatest Albums of All Time list.)
Following the Master of Reality world tour in 1972, Sabbath took its first break in three years. As Ward explained: "The band started to become very fatigued and very tired. We'd been on the road non-stop, year in and year out, constantly touring and recording. I think Master of Reality was kind of like the end of an era, the first three albums, and we decided to take our time with the next album."
In June 1972, the band reconvened in Los Angeles to begin work on their next album at the Record Plant. With more time in the studio, the album saw the band experimenting with new textures, such as strings, piano, orchestration and multi-part songs. Recording was plagued with problems, many as a result of substance abuse issues. Struggling to record the song "Cornucopia" after "sitting in the middle of the room, just doing drugs", Ward was nearly fired. "I hated the song, there were some patterns that were just... horrible," the drummer said. "I nailed it in the end, but the reaction I got was the cold shoulder from everybody. It was like 'Well, just go home, you're not being of any use right now.' I felt like I'd blown it, I was about to get fired". Butler thought that the end product "was very badly produced, as far as I was concerned. Our then-manager insisted on producing it, so he could claim production costs."
The album was originally titled Snowblind after the song of the same name, which deals with cocaine abuse. The record company changed the title at the last minute to Black Sabbath Vol. 4. Ward observed, "There was no Volume 1, 2 or 3, so it's a pretty stupid title really". Vol. 4 was released in September 1972 and, while critics were dismissive, it achieved gold status in less than a month, and was the band's fourth consecutive release to sell a million in the U.S. "Tomorrow's Dream" was released as a single – the band's first since "Paranoid" – but failed to chart.
Following an extensive tour of the U.S., in 1973 the band travelled again to Australia, followed by a tour for the first time to New Zealand, before moving onto mainland Europe. "The band were definitely in their heyday," recalled Ward, "in the sense that nobody had burnt out quite yet."
1973–1976: Sabbath Bloody Sabbath and Sabotage
Following the Volume 4 world tour, Black Sabbath returned to Los Angeles to begin work on their next release. Pleased with the Volume 4 album, the band sought to recreate the recording atmosphere, and returned to the Record Plant studio in Los Angeles. With new musical innovations of the era, the band were surprised to find that the room they had used previously at the Record Plant was replaced by a "giant synthesiser". The band rented a house in Bel Air and began writing in the summer of 1973, but in part because of substance issues and fatigue, they were unable to complete any songs. "Ideas weren't coming out the way they were on Volume 4 and we really got discontent" Iommi said. "Everybody was sitting there waiting for me to come up with something. I just couldn't think of anything. And if I didn't come up with anything, nobody would do anything."
After a month in Los Angeles with no results, the band opted to return to England. They rented Clearwell Castle in The Forest of Dean. "We rehearsed in the dungeons and it was really creepy but it had some atmosphere, it conjured up things, and stuff started coming out again." While working in the dungeon, Iommi stumbled onto the main riff of "Sabbath Bloody Sabbath", which set the tone for the new material. Recorded at Morgan Studios in London by Mike Butcher and building off the stylistic changes introduced on Volume 4, new songs incorporated synthesisers, strings, and complex arrangements. Yes keyboardist Rick Wakeman was brought in as a session player, appearing on "Sabbra Cadabra".
In November 1973, Black Sabbath began to receive positive reviews in the mainstream press after the release of Sabbath Bloody Sabbath, with Gordon Fletcher of Rolling Stone calling the album "an extraordinarily gripping affair", and "nothing less than a complete success." Later reviewers such as AllMusic's Eduardo Rivadavia cite the album as a "masterpiece, essential to any heavy metal collection", while also displaying "a newfound sense of finesse and maturity." The album marked the band's fifth consecutive platinum selling album in the U.S., reaching number four on the UK Albums Chart, and number eleven in the U.S.
The band began a world tour in January 1974, which culminated at the California Jam festival in Ontario, California, on 6 April 1974. Attracting over 200,000 fans, Black Sabbath appeared alongside popular 1970s rock and pop bands Deep Purple, Eagles, Emerson, Lake & Palmer, Rare Earth, Seals & Crofts, Black Oak Arkansas, and Earth, Wind & Fire. Portions of the show were telecast on ABC Television in the U.S., exposing the band to a wider American audience. In the same year, the band shifted management, signing with notorious English manager Don Arden. The move caused a contractual dispute with Black Sabbath's former management, and while on stage in the U.S., Osbourne was handed a subpoena that led to two years of litigation.
Black Sabbath began work on their sixth album in February 1975, again in England at Morgan Studios in Willesden, this time with a decisive vision to differ the sound from Sabbath, Bloody Sabbath. "We could've continued and gone on and on, getting more technical, using orchestras and everything else which we didn't particularly want to. We took a look at ourselves, and we wanted to do a rock album – Sabbath, Bloody Sabbath wasn't a rock album, really." Produced by Black Sabbath and Mike Butcher, Sabotage was released in July 1975. As with its precursor, the album initially saw favourable reviews, with Rolling Stone stating "Sabotage is not only Black Sabbath's best record since Paranoid, it might be their best ever", although later reviewers such as AllMusic noted that "the magical chemistry that made such albums as Paranoid and Volume 4 so special was beginning to disintegrate".
Sabotage reached the top 20 in both the U.S. and the United Kingdom, but was the band's first release not to achieve Platinum status in the U.S., only achieving Gold certification. Although the album's only single "Am I Going Insane (Radio)" failed to chart, Sabotage features fan favourites such as "Hole in the Sky", and "Symptom of the Universe". Black Sabbath toured in support of Sabotage with openers Kiss, but were forced to cut the tour short in November 1975, following a motorcycle accident in which Osbourne ruptured a muscle in his back. In December 1975, the band's record companies released a greatest hits album without input from the band, titled We Sold Our Soul for Rock 'n' Roll. The album charted throughout 1976, eventually selling two million copies in the U.S.
1976–1979: Technical Ecstasy, Never Say Die!, and Osbourne's departure
Black Sabbath began work for their next album at Criteria Studios in Miami, Florida, in June 1976. To expand their sound, the band added keyboard player Gerald Woodroffe, who also had appeared to a lesser extent on Sabotage. During the recording of Technical Ecstasy, Osbourne admits that he began losing interest in Black Sabbath and began to consider the possibility of working with other musicians. Recording of Technical Ecstasy was difficult; by the time the album was completed Osbourne was admitted to Stafford County Asylum in Britain. It was released on 25 September 1976 to mixed reviews, and (for the first time) later music critics gave the album less favourable retrospective reviews; two decades after its release AllMusic gave the album two stars, and noted that the band was "unravelling at an alarming rate". The album featured less of the doomy, ominous sound of previous efforts, and incorporated more synthesisers and uptempo rock songs. Technical Ecstasy failed to reach the top 50 in the U.S., and was the band's second consecutive release not to achieve platinum status, although it was later certified gold in 1997. The album included "Dirty Women", which remains a live staple, as well as Ward's first lead vocal on the song "It's Alright". Touring in support of Technical Ecstasy began in November 1976, with openers Boston and Ted Nugent in the U.S., and completed in Europe with AC/DC in April 1977.
In late 1977, while in rehearsal for their next album, and just days before the band was set to enter the studio, Osbourne abruptly quit the band. Iommi called vocalist Dave Walker, a longtime friend of the band, who had previously been a member of Fleetwood Mac and Savoy Brown, and informed him that Osbourne had left the band. Walker, who was at that time fronting a band called Mistress, flew to Birmingham from California in late 1977 to write material and rehearse with Black Sabbath. On 8 January 1978, Black Sabbath made their only live performance with Walker on vocals, playing an early version of the song "Junior's Eyes" on the BBC Television programme "Look! Hear!" Walker later recalled that while in Birmingham he had bumped into Osbourne in a pub and came to the conclusion that Osbourne was not fully committed to leaving Black Sabbath. "The last Sabbath albums were just very depressing for me", Osbourne said. "I was doing it for the sake of what we could get out of the record company, just to get fat on beer and put a record out." Walker has said that he wrote a lot of lyrics during his brief time in the band but none of them were ever used. If any recordings of this version of the band other than the "Look! Hear!" footage still exist, Walker says that he is not aware of them.
Osbourne initially set out to form a solo project featuring former Dirty Tricks members John Frazer-Binnie, Terry Horbury, and Andy Bierne. As the new band were in rehearsals in January 1978, Osbourne had a change of heart and rejoined Black Sabbath. "Three days before we were due to go into the studio, Ozzy wanted to come back to the band", Iommi explained. "He wouldn't sing any of the stuff we'd written with the other guy (Walker), so it made it very difficult. We went into the studio with basically no songs. We'd write in the morning so we could rehearse and record at night. It was so difficult, like a conveyor belt, because you couldn't get time to reflect on stuff. 'Is this right? Is this working properly?' It was very difficult for me to come up with the ideas and putting them together that quick."
The band spent five months at Sounds Interchange Studios in Toronto, Ontario, Canada, writing and recording what would become Never Say Die!. "It took quite a long time", Iommi said. "We were getting really drugged out, doing a lot of dope. We'd go down to the sessions, and have to pack up because we were too stoned, we'd have to stop. Nobody could get anything right, we were all over the place, everybody's playing a different thing. We'd go back and sleep it off, and try again the next day." The album was released in September 1978, reaching number twelve in the United Kingdom, and number 69 in the U.S. Press response was unfavourable and did not improve over time with Eduardo Rivadavia of AllMusic stating two decades after its release that the album's "unfocused songs perfectly reflected the band's tense personnel problems and drug abuse." The album featured the singles "Never Say Die" and "Hard Road", both of which cracked the top 40 in the United Kingdom. The band also made their second appearance on the BBC's Top of the Pops, performing "Never Say Die". It took nearly 20 years for the album to be certified Gold in the U.S.
Touring in support of Never Say Die! began in May 1978 with openers Van Halen. Reviewers called Black Sabbath's performance "tired and uninspired", a stark contrast to the "youthful" performance of Van Halen, who were touring the world for the first time. The band filmed a performance at the Hammersmith Odeon in June 1978, which was later released on DVD as Never Say Die. The final show of the tour, and Osbourne's last appearance with the band (until later reunions) was in Albuquerque, New Mexico on 11 December.
Following the tour, Black Sabbath returned to Los Angeles and again rented a house in Bel Air, where they spent nearly a year working on new material for the next album. The entire band were abusing both alcohol and other drugs, but Iommi says Osbourne "was on a totally different level altogether". The band would come up with new song ideas but Osbourne showed little interest and would refuse to sing them. Pressure from the record label and frustrations with Osbourne's lack of input coming to a head, Iommi made the decision to fire Osbourne in 1979. Iommi believed the only options available were to fire Osbourne or break the band up completely. "At that time, Ozzy had come to an end", Iommi said. "We were all doing a lot of drugs, a lot of coke, a lot of everything, and Ozzy was getting drunk so much at the time. We were supposed to be rehearsing and nothing was happening. It was like 'Rehearse today? No, we'll do it tomorrow.' It really got so bad that we didn't do anything. It just fizzled out." Drummer Ward, who was close with Osbourne, was chosen by Tony to break the news to the singer on 27 April 1979. "I hope I was professional, I might not have been, actually. When I'm drunk I am horrible, I am horrid", Ward said. "Alcohol was definitely one of the most damaging things to Black Sabbath. We were destined to destroy each other. The band were toxic, very toxic."
1979–1982: Dio joins, Heaven and Hell, and Mob Rules
Sharon Arden (later Sharon Osbourne), daughter of Black Sabbath manager Don Arden, suggested former Rainbow vocalist Ronnie James Dio to replace Ozzy Osbourne in 1979. Don Arden was at this point still trying to convince Osbourne to rejoin the band, as he viewed the original line-up as the most profitable. Dio officially joined in June, and the band began writing their next album. With a notably different vocal style from Osbourne's, Dio's addition to the band marked a change in Black Sabbath's sound. "They were totally different altogether", Iommi explains. "Not only voice-wise, but attitude-wise. Ozzy was a great showman, but when Dio came in, it was a different attitude, a different voice and a different musical approach, as far as vocals. Dio would sing across the riff, whereas Ozzy would follow the riff, like in "Iron Man". Ronnie came in and gave us another angle on writing."
Geezer Butler temporarily left the band in September 1979 for personal reasons. According to Dio, the band initially hired Craig Gruber (with whom Dio had previously played while in Elf) on bass to assist with writing the new album. Gruber was soon replaced by Geoff Nicholls of Quartz. The new line-up returned to Criteria Studios in November to begin recording work, with Butler returning to the band in January 1980, and Nicholls moving to keyboards. Produced by Martin Birch, Heaven and Hell was released on 25 April 1980, to critical acclaim. Over a decade after its release AllMusic said the album was "one of Sabbath's finest records, the band sounds reborn and re-energised throughout". Heaven and Hell peaked at number 9 in the United Kingdom, and number 28 in the U.S., the band's highest charting album since Sabotage. The album eventually sold a million copies in the U.S., and the band embarked on an extensive world tour, making their first live appearance with Dio in Germany on 17 April 1980.
Black Sabbath toured the U.S. throughout 1980 with Blue Öyster Cult on the "Black and Blue" tour, with a show at Nassau Coliseum in Uniondale, New York filmed and released theatrically in 1981 as Black and Blue. On 26 July 1980, the band played to 75,000 fans at a sold-out Los Angeles Memorial Coliseum with Journey, Cheap Trick, and Molly Hatchet. The next day, the band appeared at the 1980 Day on the Green at Oakland Coliseum. While on tour, Black Sabbath's former label in England issued a live album culled from a seven-year-old performance, titled Live at Last without any input from the band. The album reached number five on the UK chart, and saw the re-release of "Paranoid" as a single, which reached the top 20.
On 18 August 1980, after a show in Minneapolis, Ward quit the band. "It was intolerable for me to get on the stage without Ozzy. And I drank 24 hours a day, my alcoholism accelerated". Geezer Butler stated that after Ward's final show, the drummer came in drunk, stating that "He might as well be a Martian". Ward then got angry, packed his things and got on a bus to leave. Following Ward's sudden departure, the group hired drummer Vinny Appice. Further trouble for the band came during their 9 October 1980 concert at the Milwaukee Arena, which degenerated into a riot causing $10,000 in damages to the arena and resulted in 160 arrests. According to the Associated Press, "the crowd of mostly adolescent males first became rowdy in a performance by the Blue Oyster Cult" and then grew restless while waiting an hour for Black Sabbath to begin playing. A member of the audience threw a beer bottle that struck bassist Butler and effectively ended the show. "The band then abruptly halted its performance and began leaving" as the crowd rioted.
The band completed the Heaven and Hell world tour in February 1981, and returned to the studio to begin work on their next album. Black Sabbath's second studio album produced by Martin Birch and featuring Ronnie James Dio as vocalist Mob Rules was released in October 1981, to be well received by fans, but less so by the critics. Rolling Stone reviewer J. D. Considine gave the album one star, claiming "Mob Rules finds the band as dull-witted and flatulent as ever". Like most of the band's earlier work, time helped to improve the opinions of the music press, a decade after its release, AllMusic's Eduardo Rivadavia called Mob Rules "a magnificent record". The album was certified gold, and reached the top 20 on the UK chart. The album's title track "The Mob Rules", which was recorded at John Lennon's old house in England, also featured in the 1981 animated film Heavy Metal, although the film version is an alternate take, and differs from the album version.
Unhappy with the quality of 1980's Live at Last, the band recorded another live album—titled Live Evil—during the Mob Rules world tour, across the United States in Dallas, San Antonio, and Seattle, in 1982. During the mixing process for the album, Iommi and Butler had a falling out with Dio. Misinformed by their then-current mixing engineer, Iommi and Butler accused Dio of sneaking into the studio at night to raise the volume of his vocals.<ref>{{cite web|last=Marszalek|first=Julian|title=Black Sabbath's Tony Iommi Recalls the 'Heaven and Hell Era|url=http://www.spinner.com/2010/04/02/black-sabbath-tony-iommi-interview/|archive-url=https://web.archive.org/web/20120320015547/http://www.spinner.com/2010/04/02/black-sabbath-tony-iommi-interview/|url-status=dead|archive-date=20 March 2012|publisher=spinner.com|access-date=26 January 2019}}</ref> In addition, Dio was not satisfied with the pictures of him in the artwork. Butler also accused Dio and Appice of working on a solo album during the album's mixing without telling the other members of Black Sabbath. "Ronnie wanted more say in things," Iommi said. "And Geezer would get upset with him and that is where the rot set in. Live Evil is when it all fell apart. Ronnie wanted to do more of his own thing, and the engineer we were using at the time in the studio didn't know what to do, because Ronnie was telling him one thing and we were telling him another. At the end of the day, we just said, 'That's it, the band is over'". "When it comes time for the vocal, nobody tells me what to do. Nobody! Because they're not as good as me, so I do what I want to do," Dio later said. "I refuse to listen to Live Evil, because there are too many problems. If you look at the credits, the vocals and drums are listed off to the side. Open up the album and see how many pictures there are of Tony, and how many there are of me and Vinny".
Ronnie James Dio left Black Sabbath in November 1982 to start his own band, and took drummer Vinny Appice with him. Live Evil was released in January 1983, but was overshadowed by Ozzy Osbourne's platinum selling album Speak of the Devil.
1982–1984: Gillan as singer and Born Again
The remaining original members, Iommi and Butler, began auditioning singers for the band's next release. Deep Purple and Whitesnake's David Coverdale, Samson's Nicky Moore and Lone Star's John Sloman were all considered and Iommi states in his autobiography that Michael Bolton auditioned. The band settled on former Deep Purple vocalist Ian Gillan to replace Dio in December 1982. The project was initially not to be called Black Sabbath, but pressure from the record label forced the group to retain the name. The band entered The Manor Studios in Shipton-on-Cherwell, Oxfordshire, in June 1983 with a returned and newly sober Bill Ward on drums. "That was the very first album that I ever did clean and sober," Ward recalled. "I only got drunk after I finished all my work on the album – which wasn't a very good idea... Sixty to seventy per cent of my energy was taken up on learning how to get through the day without taking a drink and learning how to do things without drinking, and thirty per cent of me was involved in the album."Born Again (7 August 1983) was panned on release by critics. Despite this negative reception, it reached number four in the UK, and number 39 in the U.S. Even three decades after its release, AllMusic's Eduardo Rivadavia called the album "dreadful", noting that "Gillan's bluesy style and humorous lyrics were completely incompatible with the lords of doom and gloom".
Unable to tour because of the pressures of the road, Ward quit the band. "I fell apart with the idea of touring," he later explained. "I got so much fear behind touring, I didn't talk about the fear, I drank behind the fear instead and that was a big mistake." He was replaced by former Electric Light Orchestra drummer Bev Bevan for the Born Again '83–'84 world tour, (often unofficially referred to as the 'Feighn Death Sabbath '83–'84' World Tour) which began in Europe with Diamond Head, and later in the U.S. with Quiet Riot and Night Ranger. The band headlined the 1983 Reading Festival in England, adding Deep Purple's "Smoke on the Water" to their encore.
The tour in support of Born Again included a giant set of the Stonehenge monument. In a move later parodied in the mockumentary This Is Spinal Tap, the band made a mistake in ordering the set piece. Butler explained:
1984–1987: Hiatus, Hughes as singer, Seventh Star, and Gillen as singer
Following the completion of the Born Again tour in March 1984, vocalist Ian Gillan left Black Sabbath to re-join Deep Purple, which was reforming after a long hiatus. Bevan left at the same time, and Gillan remarked that he and Bevan were made to feel like "hired help" by Iommi. The band then recruited an unknown Los Angeles vocalist named David Donato and Ward once again rejoined the band. The new line-up wrote and rehearsed throughout 1984, and eventually recorded a demo with producer Bob Ezrin in October. Unhappy with the results, the band parted ways with Donato shortly after. Disillusioned with the band's revolving line-up, Ward left shortly after stating "This isn't Black Sabbath". Butler would quit Sabbath next in November 1984 to form a solo band. "When Ian Gillan took over that was the end of it for me," he said. "I thought it was just a joke and I just totally left. When we got together with Gillan it was not supposed to be a Black Sabbath album. After we had done the album we gave it to Warner Bros. and they said they were going to put it out as a Black Sabbath album and we didn't have a leg to stand on. I got really disillusioned with it and Gillan was really pissed off about it. That lasted one album and one tour and then that was it."
One vocalist whose status is disputed, both inside and outside Sabbath, is Christian evangelist and former Joshua frontman Jeff Fenholt. Fenholt insists he was a singer in Sabbath between January and May 1985. Iommi has never confirmed this. Fenholt gives a detailed account in Garry Sharpe-Young's book Sabbath Bloody Sabbath: The Battle for Black Sabbath.
Following both Ward's and Butler's exits, sole remaining original member Iommi put Sabbath on hiatus, and began work on a solo album with long-time Sabbath keyboardist Geoff Nicholls. While working on new material, the original Sabbath line-up agreed to a spot at Bob Geldof's Live Aid, performing at the Philadelphia show on 13 July 1985. This event – which also featured reunions of The Who and Led Zeppelin – marked the first time the original line-up had appeared on stage since 1978. "We were all drunk when we did Live Aid," recalled Geezer Butler, "but we'd all got drunk separately."
Returning to his solo work, Iommi enlisted bassist Dave Spitz (ex-Great White), drummer Eric Singer and initially intended to use multiple singers, including Rob Halford of Judas Priest, former Deep Purple and Trapeze vocalist Glenn Hughes, and former Sabbath vocalist Ronnie James Dio. This plan didn't work as he forecasted. "We were going to use different vocalists on the album, guest vocalists, but it was so difficult getting it together and getting releases from their record companies. Glenn Hughes came along to sing on one track and we decided to use him on the whole album."
The band spent the remainder of the year in the studio, recording what would become Seventh Star (1986). Warner Bros. refused to release the album as a Tony Iommi solo release, instead insisting on using the name Black Sabbath. Pressured by the band's manager, Don Arden, the two compromised and released the album as "Black Sabbath featuring Tony Iommi" in January 1986. "It opened up a whole can of worms," Iommi explained. "If we could have done it as a solo album, it would have been accepted a lot more." Seventh Star sounded little like a Sabbath album, incorporating instead elements popularised by the 1980s Sunset Strip hard rock scene. It was panned by the critics of the era, although later reviewers such as AllMusic gave album verdicts, calling the album "often misunderstood and underrated".
The new line-up rehearsed for six weeks preparing for a full world tour, although the band were eventually forced to use the Sabbath name. "I was into the 'Tony Iommi project', but I wasn't into the Black Sabbath moniker," Hughes said. "The idea of being in Black Sabbath didn't appeal to me whatsoever. Glenn Hughes singing in Black Sabbath is like James Brown singing in Metallica. It wasn't gonna work." Just four days before the start of the tour, Hughes got into a bar fight with the band's production manager John Downing which splintered the singer's orbital bone. The injury interfered with Hughes' ability to sing, and the band brought in vocalist Ray Gillen to continue the tour with W.A.S.P. and Anthrax, although nearly half of the U.S. dates would be cancelled because of poor ticket sales.
Black Sabbath began work on new material in October 1986 at Air Studios in Montserrat with producer Jeff Glixman. The recording was fraught with problems from the beginning, as Glixman left after the initial sessions to be replaced by producer Vic Coppersmith-Heaven. Bassist Dave Spitz quit over "personal issues", and former Rainbow and Ozzy Osbourne bassist Bob Daisley was brought in. Daisley re-recorded all of the bass tracks, and wrote the album's lyrics, but before the album was complete, he left to join Gary Moore's backing band, taking drummer Eric Singer with him. After problems with second producer Coppersmith-Heaven, the band returned to Morgan Studios in England in January 1987 to work with new producer Chris Tsangarides. While working in the United Kingdom, new vocalist Ray Gillen abruptly left Black Sabbath to form Blue Murder with guitarist John Sykes (ex-Tygers of Pan Tang, Thin Lizzy, Whitesnake).
1987–1990: Martin joins, The Eternal Idol, Headless Cross, and Tyr
The band enlisted heavy metal vocalist Tony Martin to re-record Gillen's tracks, and former Electric Light Orchestra drummer Bev Bevan to complete a few percussion overdubs. Before the release of the new album Black Sabbath accepted an offer to play six shows at Sun City, South Africa during the apartheid era. The band drew criticism from activists and artists involved with Artists United Against Apartheid, who had been boycotting South Africa since 1985. Drummer Bev Bevan refused to play the shows, and was replaced by Terry Chimes, formerly of the Clash.
After nearly a year in production, The Eternal Idol was released on 8 December 1987 and ignored by contemporary reviewers. On-line internet era reviews were mixed. AllMusic said that "Martin's powerful voice added new fire" to the band, and the album contained "some of Iommi's heaviest riffs in years." Blender gave the album two stars, claiming the album was "Black Sabbath in name only". The album would stall at No. 66 in the United Kingdom, while peaking at 168 in the U.S. The band toured in support of Eternal Idol in Germany, Italy and for the first time, Greece. In part due to a backlash from promoters over the South Africa incident, other European shows were cancelled. Bassist Dave Spitz left the band shortly before the tour, and was replaced by Jo Burt, formerly of Virginia Wolf.
Following the poor commercial performance of The Eternal Idol, Black Sabbath were dropped by both Vertigo Records and Warner Bros. Records, and signed with I.R.S. Records. The band took time off in 1988, returning in August to begin work on their next album. As a result of the recording troubles with Eternal Idol, Tony Iommi opted to produce the band's next album himself. "It was a completely new start", Iommi said. "I had to rethink the whole thing, and decided that we needed to build up some credibility again". Iommi enlisted former Rainbow drummer Cozy Powell, long-time keyboardist Nicholls and session bassist Laurence Cottle, and rented a "very cheap studio in England".
Black Sabbath released Headless Cross in April 1989, and it was also ignored by contemporary reviewers, although AllMusic contributor Eduardo Rivadavia gave the album four stars and called it "the finest non-Ozzy or Dio Black Sabbath album". Anchored by the number 62 charting single "Headless Cross", the album reached number 31 on the UK chart, and number 115 in the U.S. Queen guitarist Brian May, a good friend of Iommi's, played a guest solo on the song "When Death Calls". Following the album's release the band added touring bassist Neil Murray, formerly of Colosseum II, National Health, Whitesnake, Gary Moore's backing band, and Vow Wow.
The unsuccessful Headless Cross U.S. tour began in May 1989 with openers Kingdom Come and Silent Rage, but because of poor ticket sales, the tour was cancelled after just eight shows. The European leg of the tour began in September, where the band were enjoying chart success. After a string of Japanese shows the band embarked on a 23 date Russian tour with Girlschool. Black Sabbath was one of the first bands to tour Russia, after Mikhail Gorbachev opened the country to western acts for the first time in 1989.
The band returned to the studio in February 1990 to record Tyr, the follow-up to Headless Cross. While not technically a concept album, some of the album's lyrical themes are loosely based on Norse mythology. Tyr was released on 6 August 1990, reaching number 24 on the UK albums chart, but was the first Black Sabbath release not to break the Billboard 200 in the U.S. The album would receive mixed internet-era reviews, with AllMusic noting that the band "mix myth with metal in a crushing display of musical synthesis", while Blender gave the album just one star, claiming that "Iommi continues to besmirch the Sabbath name with this unremarkable collection". The band toured in support of Tyr with Circus of Power in Europe, but the final seven United Kingdom dates were cancelled because of poor ticket sales. For the first time in their career, the band's touring cycle did not include U.S. dates.
1990–1992: Dio rejoins and Dehumanizer
While on his Lock Up the Wolves U.S. tour in August 1990, former Sabbath vocalist Ronnie James Dio was joined onstage at the Roy Wilkins Auditorium by Geezer Butler to perform "Neon Knights". Following the show, the two expressed interest in rejoining Sabbath. Butler convinced Iommi, who in turn broke up the current lineup, dismissing vocalist Tony Martin and bassist Neil Murray. "I do regret that in a lot of ways," Iommi said. "We were at a good point then. We decided to [reunite with Dio] and I don't even know why, really. There's the financial aspect, but that wasn't it. I seemed to think maybe we could recapture something we had."
Dio and Butler joined Iommi and Cozy Powell in autumn 1990 to begin the next Sabbath release. While rehearsing in November, Powell suffered a broken hip when his horse died and fell on the drummer's legs. Unable to complete the album, Powell was replaced by former drummer Vinny Appice, reuniting the Mob Rules lineup, and the band entered the studio with producer Reinhold Mack. The year-long recording was plagued with problems, primarily stemming from writing tension between Iommi and Dio. Songs were rewritten multiple times. "It was just hard work," Iommi said. "We took too long on it, that album cost us a million dollars, which is bloody ridiculous." Dio recalled the album as difficult, but worth the effort: "It was something we had to really wring out of ourselves, but I think that's why it works. Sometimes you need that kind of tension, or else you end up making the Christmas album".
The resulting Dehumanizer was released on 22 June 1992. In the U.S., the album was released on 30 June 1992 by Reprise Records, as Dio and his namesake band were still under contract to the label at the time. While the album received mixed , it was the band's biggest commercial success in a decade. Anchored by the top 40 rock radio single "TV Crimes", the album peaked at number 44 on the Billboard 200. The album also featured "Time Machine", a version of which had been recorded for the 1992 film Wayne's World. Additionally, the perception among fans of a return of some semblance of the "real" Sabbath provided the band with much needed momentum.
Sabbath began touring in support of Dehumanizer in July 1992 with Testament, Danzig, Prong, and Exodus. While on tour, former vocalist Ozzy Osbourne announced his first retirement, and invited Sabbath to open for his solo band at the final two shows of his No More Tours tour in Costa Mesa, California. The band agreed, aside from Dio, who told Iommi, "I'm not doing that. I'm not supporting a clown." Dio spoke of the situation years later:
Dio quit Sabbath following a show in Oakland, California on 13 November 1992, one night before the band were set to appear at Osbourne's retirement show. Judas Priest vocalist Rob Halford stepped in at the last minute, performing two nights with the band. Iommi and Butler joined Osbourne and former drummer Ward on stage for the first time since 1985's Live Aid concert, performing a brief set of Sabbath songs. This set the stage for a longer-term reunion of the original lineup, though that plan proved short-lived. "Ozzy, Geezer, Tony and Bill announced the reunion of Black Sabbath – again," remarked Dio. "And I thought that it was a great idea. But I guess Ozzy didn't think it was such a great idea… I'm never surprised when it comes to whatever happens with them. Never at all. They are very predictable. They don't talk."
1992–1997: Martin rejoins, Cross Purposes, and Forbidden
Drummer Vinny Appice left the band following the reunion show to rejoin Ronnie James Dio's solo band, later appearing on Dio's Strange Highways and Angry Machines. Iommi and Butler enlisted former Rainbow drummer Bobby Rondinelli, and reinstated former vocalist Tony Martin. The band returned to the studio to work on new material, although the project was not originally intended to be released under the Black Sabbath name. As Geezer Butler explains:
Under pressure from their record label, the band released their seventeenth studio album, Cross Purposes, on 8 February 1994, under the Black Sabbath name. The album received mixed reviews, with Blender giving the album two stars, calling Soundgarden's 1994 album Superunknown "a far better Sabbath album than this by-the-numbers potboiler". AllMusic's Bradley Torreano called Cross Purposes "the first album since Born Again that actually sounds like a real Sabbath record". The album just missed the Top 40 in the UK reaching number 41, and also reached 122 on the Billboard 200 in the U.S. Cross Purposes contained the song "Evil Eye", which was co-written by Van Halen guitarist Eddie Van Halen, although uncredited because of record label restrictions. Touring in support of Cross Purposes began in February with Morbid Angel and Motörhead in the U.S. The band filmed a live performance at the Hammersmith Apollo on 13 April 1994, which was released on VHS accompanied by a CD, titled Cross Purposes Live. After the European tour with Cathedral and Godspeed in June 1994, drummer Bobby Rondinelli quit the band and was replaced by original Black Sabbath drummer Ward for five shows in South America.
Following the touring cycle for Cross Purposes, bassist Geezer Butler quit the band for the second time. "I finally got totally disillusioned with the last Sabbath album, and I much preferred the stuff I was writing to the stuff Sabbath were doing". Butler formed a solo project called GZR, and released Plastic Planet in 1995. The album contained the song "Giving Up the Ghost", which was critical of Tony Iommi for carrying on with the Black Sabbath name, with the lyrics: You plagiarised and parodied / the magic of our meaning / a legend in your own mind / left all your friends behind / you can't admit that you're wrong / the spirit is dead and gone ("I heard it's something about me..." said Iommi. "I had the album given to me a while back. I played it once, then somebody else had it, so I haven't really paid any attention to the lyrics... It's nice to see him doing his own thing – getting things off his chest. I don't want to get into a rift with Geezer. He's still a friend."
Following Butler's departure, newly returned drummer Ward once again left the band. Iommi reinstated former members Neil Murray on bass and Cozy Powell on drums, effectively reuniting the 1990 Tyr line-up. The band enlisted Body Count guitarist Ernie C to produce the new album, which was recorded in London in autumn of 1994. The album featured a guest vocal on "Illusion of Power" by Body Count vocalist Ice-T. The resulting Forbidden was released on 8 June 1995, but failed to chart in the U.S. The album was widely panned by critics; AllMusic's Bradley Torreano said "with boring songs, awful production, and uninspired performances, this is easily avoidable for all but the most enthusiastic fan"; while Blender magazine called Forbidden "an embarrassment... the band's worst album".
Black Sabbath embarked on a world tour in July 1995 with openers Motörhead and Tiamat, but two months into the tour, drummer Cozy Powell left the band, citing health issues, and was replaced by former drummer Bobby Rondinelli. "The members I had in the last lineup – Bobby Rondinelli, Neil Murray – they're great, great characters..." Iommi told Sabbath fanzine Southern Cross. "That, for me, was an ideal lineup. I wasn't sure vocally what we should do, but Neil Murray and Bobby Rondinelli I really got on well with."
After completing Asian dates in December 1995, Tony Iommi put the band on hiatus, and began work on a solo album with former Black Sabbath vocalist Glenn Hughes, and former Judas Priest drummer Dave Holland. The album was not officially released following its completion, although a widely traded bootleg called Eighth Star surfaced soon after. The album was officially released in 2004 as The 1996 DEP Sessions, with Holland's drums re-recorded by session drummer Jimmy Copley.
In 1997, Tony Iommi disbanded the current line-up to officially reunite with Ozzy Osbourne and the original Black Sabbath line-up. Vocalist Tony Martin claimed that an original line-up reunion had been in the works since the band's brief reunion at Ozzy Osbourne's 1992 Costa Mesa show, and that the band released subsequent albums to fulfill their record contract with I.R.S. Records. Martin later recalled Forbidden (1995) as a "filler album that got the band out of the label deal, rid of the singer, and into the reunion. However I wasn't privy to that information at the time". I.R.S. Records released a compilation album in 1996 to fulfill the band's contract, titled The Sabbath Stones, which featured songs from Born Again (1983) to Forbidden (1995).
1997–2006: Osbourne rejoins and Reunion
In the summer of 1997, Iommi, Butler and Osbourne reunited to coheadline the Ozzfest tour alongside Osbourne's solo band. The line-up featured Osbourne's drummer Mike Bordin filling in for Ward. "It started off with me going off to join Ozzy for a couple of numbers," explained Iommi, "and then it got into Sabbath doing a short set, involving Geezer. And then it grew as it went on… We were concerned in case Bill couldn't make it – couldn't do it – because it was a lot of dates, and important dates… The only rehearsal that we had to do was for the drummer. But I think if Bill had come in, it would have took a lot more time. We would have had to focus a lot more on him."
In December 1997, the group was joined by Ward, marking the first reunion of the original quartet since Osbourne's 1992 "retirement show". This lineup recorded two shows at the Birmingham NEC, released as the double album Reunion on 20 October 1998. The album reached number eleven on the Billboard 200, went platinum in the U.S. and spawned the single "Iron Man", which won Sabbath their first Grammy Award in 2000 for Best Metal Performance, 30 years after the song was originally released. Reunion featured two new studio tracks, "Psycho Man" and "Selling My Soul", both of which cracked the top 20 of the Billboard Mainstream Rock Tracks chart.
Shortly before a European tour in the summer of 1998, Ward suffered a heart attack and was temporarily replaced by former drummer Vinny Appice. Ward returned for a U.S. tour with openers Pantera, which began in January 1999 and continued through the summer, headlining the annual Ozzfest tour. Following these appearances, the band was put on hiatus while members worked on solo material. Iommi released his first official solo album, Iommi, in 2000, while Osbourne continued work on Down to Earth (2001).
Sabbath returned to the studio to work on new material with all four original members and producer Rick Rubin in the spring of 2001, but the sessions were halted when Osbourne was called away to finish tracks for his solo album in the summer. "It just came to an end…" Iommi said. "It's a shame because [the songs] were really Iommi commented on the difficulty getting all the members together to work:
In March 2002, Osbourne's Emmy-winning reality show The Osbournes debuted on MTV, and quickly became a worldwide hit. The show introduced Osbourne to a broader audience and to capitalise, the band's back catalogue label, Sanctuary Records released a double live album Past Lives (2002), which featured concert material recorded in the 1970s, including the Live at Last (1980) album. The band remained on hiatus until the summer of 2004 when they returned to headline Ozzfest 2004 and 2005. In November 2005, Black Sabbath were inducted into the UK Music Hall of Fame, and in March 2006, after eleven years of eligibility—Osbourne famously refused the Hall's "meaningless" initial nomination in 1999—the band were inducted into the U.S. Rock and Roll Hall of Fame. At the awards ceremony Metallica played two Sabbath songs, "Hole in the Sky" and "Iron Man" in tribute.
2006–2010: The Dio Years and Heaven & Hell
While Ozzy Osbourne was working on new solo album material in 2006, Rhino Records released Black Sabbath: The Dio Years, a compilation of songs culled from the four Black Sabbath releases featuring Ronnie James Dio. For the release, Iommi, Butler, Dio, and Appice reunited to write and record three new songs as Black Sabbath. The Dio Years was released on 3 April 2007, reaching number 54 on the Billboard 200, while the single "The Devil Cried" reached number 37 on the Mainstream Rock Tracks chart. Pleased with the results, Iommi and Dio decided to reunite the Dio era line-up for a world tour. While the line-up of Osbourne, Butler, Iommi, and Ward was still officially called Black Sabbath, the new line-up opted to call themselves Heaven & Hell, after the album of the same title, to avoid confusion. When asked about the name of the group, Iommi stated "it really is Black Sabbath, whatever we do... so everyone knows what they're getting [and] so people won't expect to hear 'Iron Man' and all those songs. We've done them for so many years, it's nice to do just all the stuff we did with Ronnie again."
Ward was initially set to participate, but dropped out before the tour began due to musical differences with "a couple of the band members". He was replaced by former drummer Vinny Appice, effectively reuniting the line-up that had featured on the Mob Rules (1981) and Dehumanizer (1992) albums.
Heaven & Hell toured the U.S. with openers Megadeth and Machine Head, and recorded a live album and DVD in New York on 30 March 2007, titled Live from Radio City Music Hall. In November 2007, Dio confirmed that the band had plans to record a new studio album, which was recorded in the following year. In April 2008 the band announced the upcoming release of a new box set and their participation in the Metal Masters Tour, alongside Judas Priest, Motörhead and Testament. The box set, The Rules of Hell, featuring remastered versions of all the Dio fronted Black Sabbath albums, was supported by the Metal Masters Tour. In 2009, the band announced the title of their debut studio album, The Devil You Know, released on 28 April.
On 26 May 2009, Osbourne filed suit in a federal court in New York against Iommi alleging that he illegally claimed the band name. Iommi noted that he has been the only constant band member for its full 41-year career and that his bandmates relinquished their rights to the name in the 1980s, therefore claiming more rights to the name of the band. Although in the suit, Osbourne was seeking 50% ownership of the trademark, he said that he hoped the proceedings would lead to equal ownership among the four original members.
In March 2010, Black Sabbath announced that along with Metallica they would be releasing a limited edition single together to celebrate Record Store Day. It was released on 17 April 2010. Ronnie James Dio died on 16 May 2010 from stomach cancer. In June 2010, the legal battle between Ozzy Osbourne and Tony Iommi over the trademarking of the Black Sabbath name ended, but the terms of the settlement have not been disclosed.
2010–2014: Second Osbourne reunion and 13
In a January 2010 interview while promoting his biography I Am Ozzy, Osbourne stated that although he would not rule it out, he was doubtful there would be a reunion with all four original members of the band. Osbourne stated: "I'm not gonna say I've written it out forever, but right now I don't think there's any chance. But who knows what the future holds for me? If it's my destiny, fine." In July, Butler said that there would be no reunion in 2011, as Osbourne was already committed to touring with his solo band. However, by that August they had already met up to rehearse together, and continued to do so through the autumn.
On 11 November 2011, Iommi, Butler, Osbourne, and Ward announced that they were reuniting to record a new album with a full tour in support beginning in 2012. Guitarist Iommi was diagnosed with lymphoma on 9 January 2012, which forced the band to cancel all but two shows (Download Festival, and Lollapalooza Festival) of a previously booked European tour. It was later announced that an intimate show would be played in their hometown Birmingham. It was the first concert since the reunion and the only indoors concerts that year. In February 2012, drummer Ward announced that he would not participate further in the band's reunion until he was offered a "signable contract".
On 21 May 2012, at the O2 Academy in Birmingham, Black Sabbath played their first concert since 2005, with Tommy Clufetos playing the drums. In June, they performed at the Download Festival at the Donington Park motorsports circuit in Leicestershire, England, followed by the last concert of the short tour at Lollapalooza Festival in Chicago. Later that month, the band started recording an album.
On 13 January 2013, the band announced that the album would be released in June under the title 13. Brad Wilk of Rage Against the Machine was chosen as the drummer, and Rick Rubin was chosen as the producer. Mixing of the album commenced in February. On 12 April 2013, the band released the album's track listing. The standard version of the album features eight new tracks, and the deluxe version features three bonus tracks.
The band's first single from 13, "God Is Dead?", was released on 19 April 2013. On 20 April 2013, Black Sabbath commenced their first Australia/New Zealand tour in 40 years followed by a North American Tour in Summer 2013. The second single of the album, "End of the Beginning", debuted on 15 May in a CSI: Crime Scene Investigation episode, where all three members appeared. In June 2013, 13 topped both the UK Albums Chart and the U.S. Billboard 200, becoming their first album to reach number one on the latter chart. In 2014, Black Sabbath received their first Grammy Award since 2000 with "God Is Dead?" winning Best Metal Performance.
In July 2013, Black Sabbath embarked on a North American Tour (for the first time since July 2001), followed by a Latin American tour in October 2013. In November 2013, the band started their European tour which lasted until December 2013. In March and April 2014, they made 12 stops in North America (mostly in Canada) as the second leg of their North American Tour before embarking in June 2014 on the second leg of their European tour, which ended with a concert at London's Hyde Park.
2014–2017: Cancelled twentieth album, The End, and disbandment
On 29 September 2014, Osbourne told Metal Hammer that Black Sabbath would begin work on their twentieth studio album in early 2015 with producer Rick Rubin, followed by a final tour in 2016. In an April 2015 interview, however, Osbourne said that these plans "could change", and added, "We all live in different countries and some of them want to work and some of them don't want to, I believe. But we are going to do another tour together."
On 3 September 2015, it was announced that Black Sabbath would embark on their final tour, titled The End, from January 2016 to February 2017. Numerous dates and locations across the U.S., Canada, Europe, Australia and New Zealand were announced. The final shows of The End tour took place at the Genting Arena in their home city of Birmingham, England on 2 and 4 February 2017. On 26 October 2015, it was announced the band consisting of Osbourne, Iommi and Butler would be returning to the Download Festival on 11 June 2016. Despite earlier reports that they would enter the studio before their farewell tour, Osbourne stated that there would not be another Black Sabbath studio album. However, an 8-track CD entitled The End was sold at dates on the tour. Along with some live recordings, the CD includes four unused tracks from the 13 sessions.
On 4 March 2016, Iommi discussed future re-releases of the Tony Martin-era catalogue: "We've held back on the reissues of those albums because of the current Sabbath thing with Ozzy Osbourne, but they will certainly be happening... I'd like to do a couple of new tracks for those releases with Tony Martin... I'll also be looking at working on Cross Purposes and Forbidden." Martin had suggested that this could coincide with the 30th anniversary of The Eternal Idol, in 2017. In an interview that August, Martin added "[Iommi] still has his cancer issues of course and that may well stop it all from happening but if he wants to do something I am ready." On 10 August 2016, Iommi revealed that his cancer was in remission.
Asked in November 2016 about his plans after Black Sabbath's final tour, Iommi replied, "I'll be doing some writing. Maybe I'll be doing something with the guys, maybe in the studio, but no touring." The band played their final concert on 4 February 2017 in Birmingham. The final song was streamed live on the band's Facebook page and fireworks went off as the band took their final bow. The band's final tour was not an easy one, as longstanding tensions between Osbourne and Iommi returned to the surface. Iommi stated that he would not rule out the possibility of one-off shows, "I wouldn't write that off, if one day that came about. That's possible. Or even doing an album, 'cause then, again, you're in one place. But I don't know if that would happen." In an April 2017 interview, Butler revealed that Black Sabbath considered making a blues album as the follow-up to 13, but added that, "the tour got in the way."
On 7 March 2017, Black Sabbath announced their disbandment through posts made on their official social media accounts.
2017–present: Aftermath
In a June 2018 interview with ITV News, Osbourne expressed interest in reuniting with Black Sabbath for a performance at the 2022 Commonwealth Games which is due to be held in their home city Birmingham. Iommi said that performing at the event as Black Sabbath would be "a great thing to do to help represent Birmingham. I'm up for it. Let's see what happens." He also did not rule out the possibility for the band to reform only for a one-off performance rather than a full-length tour.
In September 2020, Osbourne stated in an interview that he was no longer interested in a reunion: "Not for me. It's done. The only thing I do regret is not doing the last farewell show in Birmingham with Bill Ward. I felt really bad about that. It would have been so nice. I don't know what the circumstances behind it were, but it would have been nice. I've talked to Tony a few times, but I don't have any of the slightest interest in doing another gig. Maybe Tony's getting bored now." Butler also ruled out the possibility of any future Black Sabbath performances in an interview with Eonmusic on 10 November 2020, stating that the band is over: "There will definitely be no more Sabbath. It's done." Iommi however, pondered the possibility of another reunion tour in an interview with The Mercury News, stating that he "would like to play with the guys again" and that he misses the audiences and stage. Bill Ward stated in an interview with Eddie Trunk that he no longer has the ability or chops to perform with Black Sabbath in concert, but expressed that he would love to make another album with Osbourne, Butler and Iommi.
Despite ruling out the possibility of another Black Sabbath reunion, Osbourne revealed in an episode of Ozzy Speaks on Ozzy's Boneyard that he is working with Iommi, who will appear as one of the guests for his upcoming thirteenth solo album. In an October 2021 interview with the Metro, Ward revealed that he has kept "in contact" with his former bandmates and stated that he is "very open-minded" to the possibility of recording another Black Sabbath album: "I haven't spoken to the guys about it, but I have talked to a couple of people in management about the possibility of making a recording."
On 30 September 2020, Black Sabbath announced a new Dr. Martens shoe collection. The partnership with the British footwear company celebrated the 50th anniversaries of the band's Black Sabbath and Paranoid albums, with the boots depicting artwork from the former. On 13 January 2021, the band announced that they would reissue both Heaven & Hell and Mob Rules as expanded deluxe editions on 5 March 2021, with unreleased material included.
Musical style
Black Sabbath were a heavy metal band, whose music has also been described as psychedelic rock, and acid rock. The band have also been cited as a key influence on genres including stoner rock, grunge, doom metal, and sludge metal. Early on, Black Sabbath were influenced by Cream, The Beatles, Fleetwood Mac, Jimi Hendrix, John Mayall & the Bluesbreakers, Blue Cheer, Led Zeppelin, and Jethro Tull.
Although Black Sabbath went through many line-ups and stylistic changes, their core sound focuses on ominous lyrics and doomy music, often making use of the musical tritone, also called the "devil's interval". While their Ozzy-era albums such as Sabbath Bloody Sabbath (1973) had slight compositional similarities to the progressive rock genre that was growing in popularity at the time, standing in stark contrast to popular music of the early 1970s, Black Sabbath's dark sound was dismissed by rock critics of the era. Much like many of their early heavy metal contemporaries, the band received virtually no airplay on rock radio.
As the band's primary songwriter, Tony Iommi wrote the majority of Black Sabbath's music, while Osbourne would write vocal melodies, and bassist Geezer Butler would write lyrics. The process was sometimes frustrating for Iommi, who often felt pressured to come up with new material: "If I didn't come up with anything, nobody would do anything." On Iommi's influence, Osbourne later said:
Beginning with their third album, Master of Reality (1971), Black Sabbath began to feature tuned-down guitars. In 1965, before forming Black Sabbath, guitarist Tony Iommi suffered an accident while working in a sheet metal factory, losing the tips of two fingers on his right hand. Iommi almost gave up music, but was urged by the factory manager to listen to Django Reinhardt, a jazz guitarist who lost the use of two fingers in a fire. Inspired by Reinhardt, Iommi created two thimbles made of plastic and leather to cap off his missing fingertips. The guitarist began using lighter strings, and detuning his guitar, to better grip the strings with his prosthesis. Early in the band's history Iommi experimented with different dropped tunings, including C tuning, or 3 semitones down, before settling on E/D tuning, or a half-step down from standard tuning.
Legacy
Black Sabbath has sold over 70 million records worldwide, including a RIAA-certified 15 million in the U.S. They are one of the most influential heavy metal bands of all time. The band helped to create the genre with ground-breaking releases such as Paranoid (1970), an album that Rolling Stone magazine said "changed music forever", and called the band "the Beatles of heavy metal". Time magazine called Paranoid "the birthplace of heavy metal", placing it in their Top 100 Albums of All Time.
MTV placed Black Sabbath at number one on their Top Ten Heavy Metal Bands and VH1 placed them at number two on their list of the 100 Greatest Artists of Hard Rock. VH1 ranked Black Sabbath's "Iron Man" the number one song on their 40 Greatest Metal Songs countdown. Rolling Stone magazine ranked the band number 85 in their list of the "100 Greatest Artists of All Time". AllMusic's William Ruhlmann said:
According to Rolling Stone Holly George-Warren, "Black Sabbath was the heavy metal king of the 1970s." Although initially "despised by rock critics and ignored by radio programmers", the group sold more than 8 million albums by the end of that decade. "The heavy metal band…" marvelled Ronnie James Dio. "A band that didn't apologise for coming to town; it just stepped on buildings when it came to town."
Influence and innovation
Black Sabbath have influenced many acts including Judas Priest, Iron Maiden, Diamond Head, Slayer, Metallica, Nirvana, Korn, Black Flag, Mayhem, Venom, Guns N' Roses, Soundgarden, Body Count, Alice in Chains, Anthrax, Disturbed, Death, Opeth, Pantera, Megadeth, the Smashing Pumpkins, Slipknot, Foo Fighters, Fear Factory, Candlemass, Godsmack, and Van Halen. Two gold selling tribute albums have been released, Nativity in Black Volume 1 & 2, including covers by Sepultura, White Zombie, Type O Negative, Faith No More, Machine Head, Primus, System of a Down, and Monster Magnet.
Metallica's Lars Ulrich, who, along with bandmate James Hetfield inducted Black Sabbath into the Rock and Roll Hall of Fame in 2006, said "Black Sabbath is and always will be synonymous with heavy metal", while Hetfield said "Sabbath got me started on all that evil-sounding shit, and it's stuck with me. Tony Iommi is the king of the heavy riff." Guns N' Roses guitarist Slash said of the Paranoid album: "There's just something about that whole record that, when you're a kid and you're turned onto it, it's like a whole different world. It just opens up your mind to another dimension...Paranoid is the whole Sabbath experience; very indicative of what Sabbath meant at the time. Tony's playing style—doesn't matter whether it's off Paranoid or if it's off Heaven and Hell—it's very distinctive." Anthrax guitarist Scott Ian said "I always get the question in every interview I do, 'What are your top five metal albums?' I make it easy for myself and always say the first five Sabbath albums."
Lamb of God's Chris Adler said: "If anybody who plays heavy metal says that they weren't influenced by Black Sabbath's music, then I think that they're lying to you. I think all heavy metal music was, in some way, influenced by what Black Sabbath did." Judas Priest vocalist Rob Halford commented: "They were and still are a groundbreaking band...you can put on the first Black Sabbath album and it still sounds as fresh today as it did 30-odd years ago. And that's because great music has a timeless ability: To me, Sabbath are in the same league as the Beatles or Mozart. They're on the leading edge of something extraordinary." On Black Sabbath's standing, Rage Against the Machine guitarist Tom Morello states: "The heaviest, scariest, coolest riffs and the apocalyptic Ozzy wail are without peer. You can hear the despair and menace of the working-class Birmingham streets they came from in every kick-ass, evil groove. Their arrival ground hippy, flower-power psychedelia to a pulp and set the standard for all heavy bands to come." Phil Anselmo of Pantera and Down stated that "Only a fool would leave out what Black Sabbath brought to the heavy metal genre".
According to Tracii Guns of L.A. Guns and former member of Guns N' Roses, the main riff of "Paradise City" by Guns N' Roses, from Appetite for Destruction (1987), was influenced by the song "Zero the Hero" from the Born Again album. King Diamond guitarist Andy LaRocque affirmed that the clean guitar part of "Sleepless Nights" from Conspiracy (1989) is inspired by Tony Iommi's playing on Never Say Die!.
In addition to being pioneers of heavy metal, they also have been credited for laying the foundations for heavy metal subgenres stoner rock, sludge metal, thrash metal, black metal and doom metal as well as for alternative rock subgenre grunge. According to the critic Bob Gulla, the band's sound "shows up in virtually all of grunge's most popular bands, including Nirvana, Soundgarden, and Alice in Chains".
Tony Iommi has been credited as the pioneer of lighter gauge guitar strings. The tips of his fingers were severed in a steel factory, and while using thimbles (artificial finger tips) he found that standard guitar strings were too difficult to bend and play. He found that there was only one size of strings available, so after years with Sabbath he had strings custom made.
Culturally, Black Sabbath have exerted a huge influence in both television and literature and have in many cases become synonymous with heavy metal. In the film Almost Famous, Lester Bangs gives the protagonist an assignment to cover the band (plot point one) with the immortal line: 'Give me 500 words on Black Sabbath'. Contemporary music and arts publication Trebuchet Magazine has put this to practice by asking all new writers to write a short piece (500 words) on Black Sabbath as a means of proving their creativity and voice on a well documented subject.
Band members
Original lineup
Tony Iommi – guitars
Bill Ward – drums
Geezer Butler – bass
Ozzy Osbourne – vocals, harmonica
Discography
Black Sabbath (1970)
Paranoid (1970)
Master of Reality (1971)
Vol. 4 (1972)
Sabbath Bloody Sabbath (1973)
Sabotage (1975)
Technical Ecstasy (1976)
Never Say Die! (1978)
Heaven and Hell (1980)
Mob Rules (1981)
Born Again (1983)
Seventh Star (1986)
The Eternal Idol (1987)
Headless Cross (1989)
Tyr (1990)
Dehumanizer (1992)
Cross Purposes (1994)
Forbidden (1995)
13'' (2013)
Tours
Polka Tulk Blues/Earth Tour 1968–1969
Black Sabbath Tour 1970
Paranoid Tour 1970–1971
Master of Reality Tour 1971–1972
Vol. 4 Tour 1972–1973
Sabbath Bloody Sabbath Tour 1973–1974
Sabotage Tour 1975–1976
Technical Ecstasy Tour 1976–1977
Never Say Die! Tour 1978
Heaven & Hell Tour 1980–1981
Mob Rules Tour 1981–1982
Born Again Tour 1983
Seventh Star Tour 1986
Eternal Idol Tour 1987
Headless Cross Tour 1989
Tyr Tour 1990
Dehumanizer Tour 1992
Cross Purposes Tour 1994
Forbidden Tour 1995
Ozzfest Tour 1997
European Tour 1998
Reunion Tour 1998–1999
Ozzfest Tour 1999
U.S. Tour 1999
European Tour 1999
Ozzfest Tour 2001
Ozzfest Tour 2004
European Tour 2005
Ozzfest Tour 2005
Black Sabbath Reunion Tour, 2012–2014
The End Tour 2016–2017
See also
List of cover versions of Black Sabbath songs
Heavy metal groups
References
Sources
External links
Black Sabbath biography by James Christopher Monger, discography and album reviews, credits & releases at AllMusic
Black Sabbath discography, album releases & credits at Discogs.com
Musical groups established in 1968
Musical groups disestablished in 2006
Musical groups reestablished in 2011
Musical groups disestablished in 2017
English heavy metal musical groups
Grammy Lifetime Achievement Award winners
1968 establishments in England
2017 disestablishments in England
Kerrang! Awards winners
I.R.S. Records artists
Vertigo Records artists
Musical groups from Birmingham, West Midlands
Musical quartets
| false |
[
"\"Roll On\" is a song by British girl group Mis-Teeq. Produced by Blacksmith, it was recorded for the band's debut album, Lickin' on Both Sides (2001). The song was released on a double A-single along with a cover version of Montell Jordan's \"This Is How We Do It\" on 17 June 2002, marking the album's final single. Upon its release, it became another top-10 success for the band on the UK Singles Chart, peaking at number seven.\n\nMusic video\nInstead of filming two separate music videos for the double A-side single, one music video was filmed combining both songs. The video opens with \"Roll On\", starting with a group of men playing basketball in a court. The three members of Mis-Teeq (Alesha Dixon, Su-Elise Nash and Sabrina Washington) arrive in a lowrider and watch the men play basketball, and occasionally join in. Then it changes to dusk and cuts to the single \"This Is How We Do It\". The music video was filmed in various parts of Los Angeles, California in the US.\n\nTrack listings\n\nUK CD single\n \"Roll On\" (Rishi Rich BhangraHop edit)\n \"This Is How We Do It\" (Rishi Rich Mayfair edit)\n \"Roll On\" / \"This Is How We Do It\" (video)\n\nUK cassette single\n \"Roll On\" (Rishi Rich BhangraHop edit)\n \"This Is How We Do It\" (Rishi Rich Mayfair edit)\n \"Roll On\" (Rishi Rich radio mix)\n\nEuropean CD single\n \"Roll On\" (Rishi Rich BhangraHop edit) – 3:45\n \"This Is How We Do It\" (Rishi Rich Mayfair edit) – 3:27\n\nAustralian CD single\n \"Roll On\" (Rishi Rich radio mix)\n \"This Is How We Do It\" (Rishi Rich Mayfair edit)\n \"Roll On\" (Blacksmith Olde Skool mix)\n \"This Is How We Do It\" (Mayfair club rub)\n \"Roll On\" (Rishi Rich club mix)\n\nCharts\nAll entries charted with \"This Is How We Do It\" except where noted.\n\nWeekly charts\n\nYear-end charts\n\nReferences\n\n2001 songs\n2002 singles\nMis-Teeq songs\nTelstar Records singles",
"\"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"
] |
[
"Black Sabbath",
"Born Again (1983-1984)",
"Is Born Again the name of a Black Sabbath album?",
"Born Again (7 August 1983) was panned upon release by critics. Despite the negative reception of the album,",
"What is a single from the album?",
"The band headlined the 1983 Reading Festival in England, adding the Deep Purple song \"Smoke on the Water\" to their set list.",
"How did Born Again do on the music charts?",
"Despite the negative reception of the album, it reached number four on the UK charts, and number 39 in the U.S."
] |
C_33cdd6eae6294662ac88929b38897497_1
|
Why did the critics have a negative reception of the album?
| 4 |
Why did the critics have a negative reception of the album Born Again by Black Sabbath?
|
Black Sabbath
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The remaining two original members, Tony Iommi and Geezer Butler, began auditioning new singers for the band's next release. Samson's Nicky Moore, and Lone Star's John Sloman were considered and Iommi states in his autobiography that Michael Bolton auditioned for the band. The band settled on former Deep Purple vocalist Ian Gillan to replace Ronnie James Dio in December 1982. While the project was not initially set to be called Black Sabbath, pressures from the record label forced the group to retain the name. The band entered The Manor Studios in Shipton-on-Cherwell, Oxfordshire, in June 1983 with a returned and newly sober Bill Ward on drums. Born Again (7 August 1983) was panned upon release by critics. Despite the negative reception of the album, it reached number four on the UK charts, and number 39 in the U.S. Even a decade after its release AllMusic's Eduardo Rivadavia called the album "dreadful", noting that "Gillan's bluesy style and humorous lyrics were completely incompatible with the lords of doom and gloom". Although he performed on the album, drummer Ward was unable to tour because of the pressures of the road, and quit the band after the commencement of the Born Again album. "I fell apart with the idea of touring", Ward later said. "I got so much fear behind touring, I didn't talk about the fear, I drank behind the fear instead and that was a big mistake." Ward was replaced by former Electric Light Orchestra drummer Bev Bevan for the Born Again '83 -'84 world tour, (often unofficially referred to as the 'Feigh Death Sabbath '83 - '84' World Tour) which began in Europe with Diamond Head, and later in the U.S. with Quiet Riot and Night Ranger. The band headlined the 1983 Reading Festival in England, adding the Deep Purple song "Smoke on the Water" to their set list. The tour in support of Born Again included a giant set of the Stonehenge monument. In a move that would be later parodied in the mockumentary This Is Spinal Tap, the band made a mistake in ordering the set piece. As Geezer Butler later explained: We had Sharon Osbourne's dad, Don Arden, managing us. He came up with the idea of having the stage set be Stonehenge. He wrote the dimensions down and gave it to our tour manager. He wrote it down in metres but he meant to write it down in feet. The people who made it saw fifteen metres instead of fifteen feet. It was 45 feet high and it wouldn't fit on any stage anywhere so we just had to leave it in the storage area. It cost a fortune to make but there was not a building on earth that you could fit it into. CANNOTANSWER
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CANNOTANSWER
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Black Sabbath were an English rock band formed in Birmingham in 1968 by guitarist Tony Iommi, drummer Bill Ward, bassist Geezer Butler and vocalist Ozzy Osbourne. They are often cited as pioneers of heavy metal music. The band helped define the genre with releases such as Black Sabbath (1970), Paranoid (1970), and Master of Reality (1971). The band had multiple line-up changes following Osbourne's departure in 1979, with Iommi being the only constant member throughout its history.
After previous iterations of the group called the Polka Tulk Blues Band and Earth, the band settled on the name Black Sabbath in 1969. They distinguished themselves through occult themes with horror-inspired lyrics and down-tuned guitars. Signing to Philips Records in November 1969, they released their first single, "Evil Woman" in January 1970. Their debut album, Black Sabbath, was released the following month. Though it received a negative critical response, the album was a commercial success, leading to a follow-up record, Paranoid, later that year. The band's popularity grew, and by 1973's Sabbath Bloody Sabbath, critics were starting to respond favourably.
Osbourne's excessive substance abuse led to his firing in 1979. He was replaced by former Rainbow vocalist Ronnie James Dio. Following two albums with Dio, Black Sabbath endured many personnel changes in the 1980s and 1990s that included vocalists Ian Gillan, Glenn Hughes, Ray Gillen and Tony Martin, as well as several drummers and bassists. Martin, who replaced Gillen in 1987, was the second longest serving vocalist and recorded three albums with Black Sabbath before his dismissal in 1991. That same year, Iommi and Butler were rejoined by Dio and drummer Vinny Appice to record Dehumanizer (1992). After two more studio albums with Martin, who replaced Dio in 1993, the band's original line-up reunited in 1997 and released a live album Reunion the following year; they continued to tour occasionally until 2005. Other than various back catalogue reissues and compilation albums, as well as the Mob Rules-era lineup reunited as Heaven & Hell, there was no further activity under the Black Sabbath name for six years. They reunited in 2011 and released their final studio album and nineteenth overall, 13 (2013), which features all of the original members except Ward. During their farewell tour, the band played their final concert in their home city of Birmingham on 4 February 2017.
Black Sabbath have sold over 70 million records worldwide as of 2013, making them one of the most commercially successful heavy metal bands. They were ranked by MTV as the "Greatest Metal Band" of all time, and placed second in VH1's "100 Greatest Artists of Hard Rock" list. Rolling Stone magazine ranked them number 85 on their "100 Greatest Artists of All Time". Black Sabbath were inducted into the UK Music Hall of Fame in 2005 and the Rock and Roll Hall of Fame in 2006. They have also won two Grammy Awards for Best Metal Performance, and in 2019 the band were presented a Grammy Lifetime Achievement Award.
History
1968–1969: Formation and early days
Following the break-up of their previous band Mythology in 1968, guitarist Tony Iommi and drummer Bill Ward sought to form a heavy blues rock band in Aston, Birmingham. They enlisted bassist Geezer Butler and vocalist Ozzy Osbourne, who had played together in a band called Rare Breed, Osbourne having placed an advertisement in a local music shop: "OZZY ZIG Needs Gig – has own PA". The new group was initially named the Polka Tulk Blues Band, the name taken either from a brand of talcum powder or an Indian/Pakistani clothing shop; the exact origin is confused. The Polka Tulk Blues Band included slide guitarist Jimmy Phillips, a childhood friend of Osbourne's, and saxophonist Alan "Aker" Clarke. After shortening the name to Polka Tulk, the band again changed their name to Earth (which Osbourne hated) and continued as a four-piece without Phillips and Clarke. Iommi became concerned that Phillips and Clarke lacked the necessary dedication and were not taking the band seriously. Rather than asking them to leave, they instead decided to break up and then quietly reformed the band as a four-piece. While the band was performing under the Earth title, they recorded several demos written by Norman Haines such as "The Rebel", "Song for Jim", and "When I Came Down". The demo titled "Song for Jim" was in reference to Jim Simpson. Simpson was a manager for the bands Bakerloo Blues Line and Tea & Symphony, as well as being trumpet player for the group Locomotive. Simpson had recently started a new club named Henry's Blueshouse at The Crown Hotel in Birmingham and offered to let Earth play there after they agreed to waive the usual support band fee in return for free t-shirts. The audience response was positive and Simpson agreed to manage Earth.
In December 1968, Iommi abruptly left Earth to join Jethro Tull. Although his stint with the band would be short-lived, Iommi made an appearance with Jethro Tull on The Rolling Stones Rock and Roll Circus TV show. Unsatisfied with the direction of Jethro Tull, Iommi returned to Earth by the end of the month. "It just wasn't right, so I left", Iommi said. "At first I thought Tull were great, but I didn't much go for having a leader in the band, which was Ian Anderson's way. When I came back from Tull, I came back with a new attitude altogether. They taught me that to get on, you got to work for it."
While playing shows in England in 1969, the band discovered they were being mistaken for another English group named Earth. They decided to change their name again. A cinema across the street from the band's rehearsal room was showing the 1963 horror film Black Sabbath starring Boris Karloff and directed by Mario Bava. While watching people line up to see the film, Butler noted that it was "strange that people spend so much money to see scary movies". Following that, Osbourne and Butler wrote the lyrics for a song called "Black Sabbath", which was inspired by the work of horror and adventure-story writer Dennis Wheatley, along with a vision that Butler had of a black silhouetted figure standing at the foot of his bed. Making use of the musical tritone, also known as "the Devil's Interval", the song's ominous sound and dark lyrics pushed the band in a darker direction, a stark contrast to the popular music of the late 1960s, which was dominated by flower power, folk music, and hippie culture. Judas Priest frontman Rob Halford has called the track "probably the most evil song ever written". Inspired by the new sound, the band changed their name to Black Sabbath in August 1969, and made the decision to focus on writing similar material, in an attempt to create the musical equivalent of horror films.
1969–1971: Black Sabbath and Paranoid
The band's first show as Black Sabbath took place on 30 August 1969, in Workington, England. They were signed to Philips Records in November 1969, and released their first single, "Evil Woman" (a cover of a song by the band Crow), recorded at Trident Studios, through Philips subsidiary Fontana Records in January 1970. Later releases were handled by Philips' newly formed progressive rock label, Vertigo Records.
Black Sabbath's first major exposure came when the band appeared on John Peel's Top Gear radio show in 1969, performing "Black Sabbath", "N.I.B.", "Behind the Wall of Sleep", and "Sleeping Village" to a national audience in Great Britain shortly before recording of their first album commenced. Although the "Evil Woman" single failed to chart, the band were afforded two days of studio time in November to record their debut album with producer Rodger Bain. Iommi recalls recording live: "We thought 'We have two days to do it and one of the days is mixing.' So we played live. Ozzy was singing at the same time, we just put him in a separate booth and off we went. We never had a second run of most of the stuff."
Black Sabbath was released on Friday the 13th, February 1970, and reached number 8 in the UK Albums Chart. Following its U.S. and Canadian release in May 1970 by Warner Bros. Records, the album reached number 23 on the Billboard 200, where it remained for over a year. The album was given negative reviews by many critics. Lester Bangs dismissed it in a Rolling Stone review as "discordant jams with bass and guitar reeling like velocitised speedfreaks all over each other's musical perimeters, yet never quite finding synch". It sold in substantial numbers despite being panned, giving the band their first mainstream exposure. It has since been certified platinum in both U.S. by the Recording Industry Association of America (RIAA) and in the UK by British Phonographic Industry (BPI), and is now generally accepted as the first heavy metal album.
The band returned to the studio in June 1970, just four months after Black Sabbath was released. The new album was initially set to be named War Pigs after the song "War Pigs", which was critical of the Vietnam War; however, Warner changed the title of the album to Paranoid. The album's lead-off single, "Paranoid", was written in the studio at the last minute. Ward explains: "We didn't have enough songs for the album, and Tony just played the [Paranoid] guitar lick and that was it. It took twenty, twenty-five minutes from top to bottom." The single was released in September 1970 and reached number four on the UK Singles Chart, remaining Black Sabbath's only top ten hit. The album followed in the UK in October 1970, where, pushed by the success of the "Paranoid" single, it made number one in the UK Albums Chart.
The U.S. release was held off until January 1971, as the Black Sabbath album was still on the chart at the time of Paranoids UK release. The album reached No. 12 in the U.S. in March 1971, and would go on to sell four million copies in the U.S., with virtually no radio airplay. Like Black Sabbath, the album was panned by rock critics of the era, but modern-day reviewers such as AllMusic's Steve Huey cite Paranoid as "one of the greatest and most influential heavy metal albums of all time", which "defined the sound and style of heavy metal more than any other record in rock history". The album was ranked at No. 131 on Rolling Stone magazine's list of The 500 Greatest Albums of All Time. Paranoids chart success allowed the band to tour the U.S. for the first time (playing their first U.S. show at a club called Ungano's at 210 West 70th Street in New York City) and spawned the release of the album's second single "Iron Man". Although the single failed to reach the top 40, "Iron Man" remains one of Black Sabbath's most popular songs, as well as the band's highest charting U.S. single until 1998's "Psycho Man".
1971–1973: Master of Reality and Volume 4
In February 1971, after a one-off performance at the Myponga Pop Festival in Australia, Black Sabbath returned to the studio to begin work on their third album. Following the chart success of Paranoid, the band were afforded more studio time, along with a "briefcase full of cash" to buy drugs. "We were getting into coke, big time", Ward explained. "Uppers, downers, Quaaludes, whatever you like. It got to the stage where you come up with ideas and forget them, because you were just so out of it."
Production completed in April 1971, in July the band released Master of Reality, just six months after the U.S. release of Paranoid. The album reached the top ten in the U.S. and the United Kingdom, and was certified gold in less than two months, eventually receiving platinum certification in the 1980s and Double Platinum in the early 21st century. It contained Sabbath's first acoustic songs, alongside fan favourites such as "Children of the Grave" and "Sweet Leaf". Critical response of the era was generally unfavourable, with Lester Bangs delivering an ambivalent review of Master of Reality in Rolling Stone, describing the closing "Children of the Grave" as "naïve, simplistic, repetitive, absolute doggerel – but in the tradition [of rock'n'roll]... The only criterion is excitement, and Black Sabbath's got it". (In 2003, Rolling Stone would place the album at number 300 on their 500 Greatest Albums of All Time list.)
Following the Master of Reality world tour in 1972, Sabbath took its first break in three years. As Ward explained: "The band started to become very fatigued and very tired. We'd been on the road non-stop, year in and year out, constantly touring and recording. I think Master of Reality was kind of like the end of an era, the first three albums, and we decided to take our time with the next album."
In June 1972, the band reconvened in Los Angeles to begin work on their next album at the Record Plant. With more time in the studio, the album saw the band experimenting with new textures, such as strings, piano, orchestration and multi-part songs. Recording was plagued with problems, many as a result of substance abuse issues. Struggling to record the song "Cornucopia" after "sitting in the middle of the room, just doing drugs", Ward was nearly fired. "I hated the song, there were some patterns that were just... horrible," the drummer said. "I nailed it in the end, but the reaction I got was the cold shoulder from everybody. It was like 'Well, just go home, you're not being of any use right now.' I felt like I'd blown it, I was about to get fired". Butler thought that the end product "was very badly produced, as far as I was concerned. Our then-manager insisted on producing it, so he could claim production costs."
The album was originally titled Snowblind after the song of the same name, which deals with cocaine abuse. The record company changed the title at the last minute to Black Sabbath Vol. 4. Ward observed, "There was no Volume 1, 2 or 3, so it's a pretty stupid title really". Vol. 4 was released in September 1972 and, while critics were dismissive, it achieved gold status in less than a month, and was the band's fourth consecutive release to sell a million in the U.S. "Tomorrow's Dream" was released as a single – the band's first since "Paranoid" – but failed to chart.
Following an extensive tour of the U.S., in 1973 the band travelled again to Australia, followed by a tour for the first time to New Zealand, before moving onto mainland Europe. "The band were definitely in their heyday," recalled Ward, "in the sense that nobody had burnt out quite yet."
1973–1976: Sabbath Bloody Sabbath and Sabotage
Following the Volume 4 world tour, Black Sabbath returned to Los Angeles to begin work on their next release. Pleased with the Volume 4 album, the band sought to recreate the recording atmosphere, and returned to the Record Plant studio in Los Angeles. With new musical innovations of the era, the band were surprised to find that the room they had used previously at the Record Plant was replaced by a "giant synthesiser". The band rented a house in Bel Air and began writing in the summer of 1973, but in part because of substance issues and fatigue, they were unable to complete any songs. "Ideas weren't coming out the way they were on Volume 4 and we really got discontent" Iommi said. "Everybody was sitting there waiting for me to come up with something. I just couldn't think of anything. And if I didn't come up with anything, nobody would do anything."
After a month in Los Angeles with no results, the band opted to return to England. They rented Clearwell Castle in The Forest of Dean. "We rehearsed in the dungeons and it was really creepy but it had some atmosphere, it conjured up things, and stuff started coming out again." While working in the dungeon, Iommi stumbled onto the main riff of "Sabbath Bloody Sabbath", which set the tone for the new material. Recorded at Morgan Studios in London by Mike Butcher and building off the stylistic changes introduced on Volume 4, new songs incorporated synthesisers, strings, and complex arrangements. Yes keyboardist Rick Wakeman was brought in as a session player, appearing on "Sabbra Cadabra".
In November 1973, Black Sabbath began to receive positive reviews in the mainstream press after the release of Sabbath Bloody Sabbath, with Gordon Fletcher of Rolling Stone calling the album "an extraordinarily gripping affair", and "nothing less than a complete success." Later reviewers such as AllMusic's Eduardo Rivadavia cite the album as a "masterpiece, essential to any heavy metal collection", while also displaying "a newfound sense of finesse and maturity." The album marked the band's fifth consecutive platinum selling album in the U.S., reaching number four on the UK Albums Chart, and number eleven in the U.S.
The band began a world tour in January 1974, which culminated at the California Jam festival in Ontario, California, on 6 April 1974. Attracting over 200,000 fans, Black Sabbath appeared alongside popular 1970s rock and pop bands Deep Purple, Eagles, Emerson, Lake & Palmer, Rare Earth, Seals & Crofts, Black Oak Arkansas, and Earth, Wind & Fire. Portions of the show were telecast on ABC Television in the U.S., exposing the band to a wider American audience. In the same year, the band shifted management, signing with notorious English manager Don Arden. The move caused a contractual dispute with Black Sabbath's former management, and while on stage in the U.S., Osbourne was handed a subpoena that led to two years of litigation.
Black Sabbath began work on their sixth album in February 1975, again in England at Morgan Studios in Willesden, this time with a decisive vision to differ the sound from Sabbath, Bloody Sabbath. "We could've continued and gone on and on, getting more technical, using orchestras and everything else which we didn't particularly want to. We took a look at ourselves, and we wanted to do a rock album – Sabbath, Bloody Sabbath wasn't a rock album, really." Produced by Black Sabbath and Mike Butcher, Sabotage was released in July 1975. As with its precursor, the album initially saw favourable reviews, with Rolling Stone stating "Sabotage is not only Black Sabbath's best record since Paranoid, it might be their best ever", although later reviewers such as AllMusic noted that "the magical chemistry that made such albums as Paranoid and Volume 4 so special was beginning to disintegrate".
Sabotage reached the top 20 in both the U.S. and the United Kingdom, but was the band's first release not to achieve Platinum status in the U.S., only achieving Gold certification. Although the album's only single "Am I Going Insane (Radio)" failed to chart, Sabotage features fan favourites such as "Hole in the Sky", and "Symptom of the Universe". Black Sabbath toured in support of Sabotage with openers Kiss, but were forced to cut the tour short in November 1975, following a motorcycle accident in which Osbourne ruptured a muscle in his back. In December 1975, the band's record companies released a greatest hits album without input from the band, titled We Sold Our Soul for Rock 'n' Roll. The album charted throughout 1976, eventually selling two million copies in the U.S.
1976–1979: Technical Ecstasy, Never Say Die!, and Osbourne's departure
Black Sabbath began work for their next album at Criteria Studios in Miami, Florida, in June 1976. To expand their sound, the band added keyboard player Gerald Woodroffe, who also had appeared to a lesser extent on Sabotage. During the recording of Technical Ecstasy, Osbourne admits that he began losing interest in Black Sabbath and began to consider the possibility of working with other musicians. Recording of Technical Ecstasy was difficult; by the time the album was completed Osbourne was admitted to Stafford County Asylum in Britain. It was released on 25 September 1976 to mixed reviews, and (for the first time) later music critics gave the album less favourable retrospective reviews; two decades after its release AllMusic gave the album two stars, and noted that the band was "unravelling at an alarming rate". The album featured less of the doomy, ominous sound of previous efforts, and incorporated more synthesisers and uptempo rock songs. Technical Ecstasy failed to reach the top 50 in the U.S., and was the band's second consecutive release not to achieve platinum status, although it was later certified gold in 1997. The album included "Dirty Women", which remains a live staple, as well as Ward's first lead vocal on the song "It's Alright". Touring in support of Technical Ecstasy began in November 1976, with openers Boston and Ted Nugent in the U.S., and completed in Europe with AC/DC in April 1977.
In late 1977, while in rehearsal for their next album, and just days before the band was set to enter the studio, Osbourne abruptly quit the band. Iommi called vocalist Dave Walker, a longtime friend of the band, who had previously been a member of Fleetwood Mac and Savoy Brown, and informed him that Osbourne had left the band. Walker, who was at that time fronting a band called Mistress, flew to Birmingham from California in late 1977 to write material and rehearse with Black Sabbath. On 8 January 1978, Black Sabbath made their only live performance with Walker on vocals, playing an early version of the song "Junior's Eyes" on the BBC Television programme "Look! Hear!" Walker later recalled that while in Birmingham he had bumped into Osbourne in a pub and came to the conclusion that Osbourne was not fully committed to leaving Black Sabbath. "The last Sabbath albums were just very depressing for me", Osbourne said. "I was doing it for the sake of what we could get out of the record company, just to get fat on beer and put a record out." Walker has said that he wrote a lot of lyrics during his brief time in the band but none of them were ever used. If any recordings of this version of the band other than the "Look! Hear!" footage still exist, Walker says that he is not aware of them.
Osbourne initially set out to form a solo project featuring former Dirty Tricks members John Frazer-Binnie, Terry Horbury, and Andy Bierne. As the new band were in rehearsals in January 1978, Osbourne had a change of heart and rejoined Black Sabbath. "Three days before we were due to go into the studio, Ozzy wanted to come back to the band", Iommi explained. "He wouldn't sing any of the stuff we'd written with the other guy (Walker), so it made it very difficult. We went into the studio with basically no songs. We'd write in the morning so we could rehearse and record at night. It was so difficult, like a conveyor belt, because you couldn't get time to reflect on stuff. 'Is this right? Is this working properly?' It was very difficult for me to come up with the ideas and putting them together that quick."
The band spent five months at Sounds Interchange Studios in Toronto, Ontario, Canada, writing and recording what would become Never Say Die!. "It took quite a long time", Iommi said. "We were getting really drugged out, doing a lot of dope. We'd go down to the sessions, and have to pack up because we were too stoned, we'd have to stop. Nobody could get anything right, we were all over the place, everybody's playing a different thing. We'd go back and sleep it off, and try again the next day." The album was released in September 1978, reaching number twelve in the United Kingdom, and number 69 in the U.S. Press response was unfavourable and did not improve over time with Eduardo Rivadavia of AllMusic stating two decades after its release that the album's "unfocused songs perfectly reflected the band's tense personnel problems and drug abuse." The album featured the singles "Never Say Die" and "Hard Road", both of which cracked the top 40 in the United Kingdom. The band also made their second appearance on the BBC's Top of the Pops, performing "Never Say Die". It took nearly 20 years for the album to be certified Gold in the U.S.
Touring in support of Never Say Die! began in May 1978 with openers Van Halen. Reviewers called Black Sabbath's performance "tired and uninspired", a stark contrast to the "youthful" performance of Van Halen, who were touring the world for the first time. The band filmed a performance at the Hammersmith Odeon in June 1978, which was later released on DVD as Never Say Die. The final show of the tour, and Osbourne's last appearance with the band (until later reunions) was in Albuquerque, New Mexico on 11 December.
Following the tour, Black Sabbath returned to Los Angeles and again rented a house in Bel Air, where they spent nearly a year working on new material for the next album. The entire band were abusing both alcohol and other drugs, but Iommi says Osbourne "was on a totally different level altogether". The band would come up with new song ideas but Osbourne showed little interest and would refuse to sing them. Pressure from the record label and frustrations with Osbourne's lack of input coming to a head, Iommi made the decision to fire Osbourne in 1979. Iommi believed the only options available were to fire Osbourne or break the band up completely. "At that time, Ozzy had come to an end", Iommi said. "We were all doing a lot of drugs, a lot of coke, a lot of everything, and Ozzy was getting drunk so much at the time. We were supposed to be rehearsing and nothing was happening. It was like 'Rehearse today? No, we'll do it tomorrow.' It really got so bad that we didn't do anything. It just fizzled out." Drummer Ward, who was close with Osbourne, was chosen by Tony to break the news to the singer on 27 April 1979. "I hope I was professional, I might not have been, actually. When I'm drunk I am horrible, I am horrid", Ward said. "Alcohol was definitely one of the most damaging things to Black Sabbath. We were destined to destroy each other. The band were toxic, very toxic."
1979–1982: Dio joins, Heaven and Hell, and Mob Rules
Sharon Arden (later Sharon Osbourne), daughter of Black Sabbath manager Don Arden, suggested former Rainbow vocalist Ronnie James Dio to replace Ozzy Osbourne in 1979. Don Arden was at this point still trying to convince Osbourne to rejoin the band, as he viewed the original line-up as the most profitable. Dio officially joined in June, and the band began writing their next album. With a notably different vocal style from Osbourne's, Dio's addition to the band marked a change in Black Sabbath's sound. "They were totally different altogether", Iommi explains. "Not only voice-wise, but attitude-wise. Ozzy was a great showman, but when Dio came in, it was a different attitude, a different voice and a different musical approach, as far as vocals. Dio would sing across the riff, whereas Ozzy would follow the riff, like in "Iron Man". Ronnie came in and gave us another angle on writing."
Geezer Butler temporarily left the band in September 1979 for personal reasons. According to Dio, the band initially hired Craig Gruber (with whom Dio had previously played while in Elf) on bass to assist with writing the new album. Gruber was soon replaced by Geoff Nicholls of Quartz. The new line-up returned to Criteria Studios in November to begin recording work, with Butler returning to the band in January 1980, and Nicholls moving to keyboards. Produced by Martin Birch, Heaven and Hell was released on 25 April 1980, to critical acclaim. Over a decade after its release AllMusic said the album was "one of Sabbath's finest records, the band sounds reborn and re-energised throughout". Heaven and Hell peaked at number 9 in the United Kingdom, and number 28 in the U.S., the band's highest charting album since Sabotage. The album eventually sold a million copies in the U.S., and the band embarked on an extensive world tour, making their first live appearance with Dio in Germany on 17 April 1980.
Black Sabbath toured the U.S. throughout 1980 with Blue Öyster Cult on the "Black and Blue" tour, with a show at Nassau Coliseum in Uniondale, New York filmed and released theatrically in 1981 as Black and Blue. On 26 July 1980, the band played to 75,000 fans at a sold-out Los Angeles Memorial Coliseum with Journey, Cheap Trick, and Molly Hatchet. The next day, the band appeared at the 1980 Day on the Green at Oakland Coliseum. While on tour, Black Sabbath's former label in England issued a live album culled from a seven-year-old performance, titled Live at Last without any input from the band. The album reached number five on the UK chart, and saw the re-release of "Paranoid" as a single, which reached the top 20.
On 18 August 1980, after a show in Minneapolis, Ward quit the band. "It was intolerable for me to get on the stage without Ozzy. And I drank 24 hours a day, my alcoholism accelerated". Geezer Butler stated that after Ward's final show, the drummer came in drunk, stating that "He might as well be a Martian". Ward then got angry, packed his things and got on a bus to leave. Following Ward's sudden departure, the group hired drummer Vinny Appice. Further trouble for the band came during their 9 October 1980 concert at the Milwaukee Arena, which degenerated into a riot causing $10,000 in damages to the arena and resulted in 160 arrests. According to the Associated Press, "the crowd of mostly adolescent males first became rowdy in a performance by the Blue Oyster Cult" and then grew restless while waiting an hour for Black Sabbath to begin playing. A member of the audience threw a beer bottle that struck bassist Butler and effectively ended the show. "The band then abruptly halted its performance and began leaving" as the crowd rioted.
The band completed the Heaven and Hell world tour in February 1981, and returned to the studio to begin work on their next album. Black Sabbath's second studio album produced by Martin Birch and featuring Ronnie James Dio as vocalist Mob Rules was released in October 1981, to be well received by fans, but less so by the critics. Rolling Stone reviewer J. D. Considine gave the album one star, claiming "Mob Rules finds the band as dull-witted and flatulent as ever". Like most of the band's earlier work, time helped to improve the opinions of the music press, a decade after its release, AllMusic's Eduardo Rivadavia called Mob Rules "a magnificent record". The album was certified gold, and reached the top 20 on the UK chart. The album's title track "The Mob Rules", which was recorded at John Lennon's old house in England, also featured in the 1981 animated film Heavy Metal, although the film version is an alternate take, and differs from the album version.
Unhappy with the quality of 1980's Live at Last, the band recorded another live album—titled Live Evil—during the Mob Rules world tour, across the United States in Dallas, San Antonio, and Seattle, in 1982. During the mixing process for the album, Iommi and Butler had a falling out with Dio. Misinformed by their then-current mixing engineer, Iommi and Butler accused Dio of sneaking into the studio at night to raise the volume of his vocals.<ref>{{cite web|last=Marszalek|first=Julian|title=Black Sabbath's Tony Iommi Recalls the 'Heaven and Hell Era|url=http://www.spinner.com/2010/04/02/black-sabbath-tony-iommi-interview/|archive-url=https://web.archive.org/web/20120320015547/http://www.spinner.com/2010/04/02/black-sabbath-tony-iommi-interview/|url-status=dead|archive-date=20 March 2012|publisher=spinner.com|access-date=26 January 2019}}</ref> In addition, Dio was not satisfied with the pictures of him in the artwork. Butler also accused Dio and Appice of working on a solo album during the album's mixing without telling the other members of Black Sabbath. "Ronnie wanted more say in things," Iommi said. "And Geezer would get upset with him and that is where the rot set in. Live Evil is when it all fell apart. Ronnie wanted to do more of his own thing, and the engineer we were using at the time in the studio didn't know what to do, because Ronnie was telling him one thing and we were telling him another. At the end of the day, we just said, 'That's it, the band is over'". "When it comes time for the vocal, nobody tells me what to do. Nobody! Because they're not as good as me, so I do what I want to do," Dio later said. "I refuse to listen to Live Evil, because there are too many problems. If you look at the credits, the vocals and drums are listed off to the side. Open up the album and see how many pictures there are of Tony, and how many there are of me and Vinny".
Ronnie James Dio left Black Sabbath in November 1982 to start his own band, and took drummer Vinny Appice with him. Live Evil was released in January 1983, but was overshadowed by Ozzy Osbourne's platinum selling album Speak of the Devil.
1982–1984: Gillan as singer and Born Again
The remaining original members, Iommi and Butler, began auditioning singers for the band's next release. Deep Purple and Whitesnake's David Coverdale, Samson's Nicky Moore and Lone Star's John Sloman were all considered and Iommi states in his autobiography that Michael Bolton auditioned. The band settled on former Deep Purple vocalist Ian Gillan to replace Dio in December 1982. The project was initially not to be called Black Sabbath, but pressure from the record label forced the group to retain the name. The band entered The Manor Studios in Shipton-on-Cherwell, Oxfordshire, in June 1983 with a returned and newly sober Bill Ward on drums. "That was the very first album that I ever did clean and sober," Ward recalled. "I only got drunk after I finished all my work on the album – which wasn't a very good idea... Sixty to seventy per cent of my energy was taken up on learning how to get through the day without taking a drink and learning how to do things without drinking, and thirty per cent of me was involved in the album."Born Again (7 August 1983) was panned on release by critics. Despite this negative reception, it reached number four in the UK, and number 39 in the U.S. Even three decades after its release, AllMusic's Eduardo Rivadavia called the album "dreadful", noting that "Gillan's bluesy style and humorous lyrics were completely incompatible with the lords of doom and gloom".
Unable to tour because of the pressures of the road, Ward quit the band. "I fell apart with the idea of touring," he later explained. "I got so much fear behind touring, I didn't talk about the fear, I drank behind the fear instead and that was a big mistake." He was replaced by former Electric Light Orchestra drummer Bev Bevan for the Born Again '83–'84 world tour, (often unofficially referred to as the 'Feighn Death Sabbath '83–'84' World Tour) which began in Europe with Diamond Head, and later in the U.S. with Quiet Riot and Night Ranger. The band headlined the 1983 Reading Festival in England, adding Deep Purple's "Smoke on the Water" to their encore.
The tour in support of Born Again included a giant set of the Stonehenge monument. In a move later parodied in the mockumentary This Is Spinal Tap, the band made a mistake in ordering the set piece. Butler explained:
1984–1987: Hiatus, Hughes as singer, Seventh Star, and Gillen as singer
Following the completion of the Born Again tour in March 1984, vocalist Ian Gillan left Black Sabbath to re-join Deep Purple, which was reforming after a long hiatus. Bevan left at the same time, and Gillan remarked that he and Bevan were made to feel like "hired help" by Iommi. The band then recruited an unknown Los Angeles vocalist named David Donato and Ward once again rejoined the band. The new line-up wrote and rehearsed throughout 1984, and eventually recorded a demo with producer Bob Ezrin in October. Unhappy with the results, the band parted ways with Donato shortly after. Disillusioned with the band's revolving line-up, Ward left shortly after stating "This isn't Black Sabbath". Butler would quit Sabbath next in November 1984 to form a solo band. "When Ian Gillan took over that was the end of it for me," he said. "I thought it was just a joke and I just totally left. When we got together with Gillan it was not supposed to be a Black Sabbath album. After we had done the album we gave it to Warner Bros. and they said they were going to put it out as a Black Sabbath album and we didn't have a leg to stand on. I got really disillusioned with it and Gillan was really pissed off about it. That lasted one album and one tour and then that was it."
One vocalist whose status is disputed, both inside and outside Sabbath, is Christian evangelist and former Joshua frontman Jeff Fenholt. Fenholt insists he was a singer in Sabbath between January and May 1985. Iommi has never confirmed this. Fenholt gives a detailed account in Garry Sharpe-Young's book Sabbath Bloody Sabbath: The Battle for Black Sabbath.
Following both Ward's and Butler's exits, sole remaining original member Iommi put Sabbath on hiatus, and began work on a solo album with long-time Sabbath keyboardist Geoff Nicholls. While working on new material, the original Sabbath line-up agreed to a spot at Bob Geldof's Live Aid, performing at the Philadelphia show on 13 July 1985. This event – which also featured reunions of The Who and Led Zeppelin – marked the first time the original line-up had appeared on stage since 1978. "We were all drunk when we did Live Aid," recalled Geezer Butler, "but we'd all got drunk separately."
Returning to his solo work, Iommi enlisted bassist Dave Spitz (ex-Great White), drummer Eric Singer and initially intended to use multiple singers, including Rob Halford of Judas Priest, former Deep Purple and Trapeze vocalist Glenn Hughes, and former Sabbath vocalist Ronnie James Dio. This plan didn't work as he forecasted. "We were going to use different vocalists on the album, guest vocalists, but it was so difficult getting it together and getting releases from their record companies. Glenn Hughes came along to sing on one track and we decided to use him on the whole album."
The band spent the remainder of the year in the studio, recording what would become Seventh Star (1986). Warner Bros. refused to release the album as a Tony Iommi solo release, instead insisting on using the name Black Sabbath. Pressured by the band's manager, Don Arden, the two compromised and released the album as "Black Sabbath featuring Tony Iommi" in January 1986. "It opened up a whole can of worms," Iommi explained. "If we could have done it as a solo album, it would have been accepted a lot more." Seventh Star sounded little like a Sabbath album, incorporating instead elements popularised by the 1980s Sunset Strip hard rock scene. It was panned by the critics of the era, although later reviewers such as AllMusic gave album verdicts, calling the album "often misunderstood and underrated".
The new line-up rehearsed for six weeks preparing for a full world tour, although the band were eventually forced to use the Sabbath name. "I was into the 'Tony Iommi project', but I wasn't into the Black Sabbath moniker," Hughes said. "The idea of being in Black Sabbath didn't appeal to me whatsoever. Glenn Hughes singing in Black Sabbath is like James Brown singing in Metallica. It wasn't gonna work." Just four days before the start of the tour, Hughes got into a bar fight with the band's production manager John Downing which splintered the singer's orbital bone. The injury interfered with Hughes' ability to sing, and the band brought in vocalist Ray Gillen to continue the tour with W.A.S.P. and Anthrax, although nearly half of the U.S. dates would be cancelled because of poor ticket sales.
Black Sabbath began work on new material in October 1986 at Air Studios in Montserrat with producer Jeff Glixman. The recording was fraught with problems from the beginning, as Glixman left after the initial sessions to be replaced by producer Vic Coppersmith-Heaven. Bassist Dave Spitz quit over "personal issues", and former Rainbow and Ozzy Osbourne bassist Bob Daisley was brought in. Daisley re-recorded all of the bass tracks, and wrote the album's lyrics, but before the album was complete, he left to join Gary Moore's backing band, taking drummer Eric Singer with him. After problems with second producer Coppersmith-Heaven, the band returned to Morgan Studios in England in January 1987 to work with new producer Chris Tsangarides. While working in the United Kingdom, new vocalist Ray Gillen abruptly left Black Sabbath to form Blue Murder with guitarist John Sykes (ex-Tygers of Pan Tang, Thin Lizzy, Whitesnake).
1987–1990: Martin joins, The Eternal Idol, Headless Cross, and Tyr
The band enlisted heavy metal vocalist Tony Martin to re-record Gillen's tracks, and former Electric Light Orchestra drummer Bev Bevan to complete a few percussion overdubs. Before the release of the new album Black Sabbath accepted an offer to play six shows at Sun City, South Africa during the apartheid era. The band drew criticism from activists and artists involved with Artists United Against Apartheid, who had been boycotting South Africa since 1985. Drummer Bev Bevan refused to play the shows, and was replaced by Terry Chimes, formerly of the Clash.
After nearly a year in production, The Eternal Idol was released on 8 December 1987 and ignored by contemporary reviewers. On-line internet era reviews were mixed. AllMusic said that "Martin's powerful voice added new fire" to the band, and the album contained "some of Iommi's heaviest riffs in years." Blender gave the album two stars, claiming the album was "Black Sabbath in name only". The album would stall at No. 66 in the United Kingdom, while peaking at 168 in the U.S. The band toured in support of Eternal Idol in Germany, Italy and for the first time, Greece. In part due to a backlash from promoters over the South Africa incident, other European shows were cancelled. Bassist Dave Spitz left the band shortly before the tour, and was replaced by Jo Burt, formerly of Virginia Wolf.
Following the poor commercial performance of The Eternal Idol, Black Sabbath were dropped by both Vertigo Records and Warner Bros. Records, and signed with I.R.S. Records. The band took time off in 1988, returning in August to begin work on their next album. As a result of the recording troubles with Eternal Idol, Tony Iommi opted to produce the band's next album himself. "It was a completely new start", Iommi said. "I had to rethink the whole thing, and decided that we needed to build up some credibility again". Iommi enlisted former Rainbow drummer Cozy Powell, long-time keyboardist Nicholls and session bassist Laurence Cottle, and rented a "very cheap studio in England".
Black Sabbath released Headless Cross in April 1989, and it was also ignored by contemporary reviewers, although AllMusic contributor Eduardo Rivadavia gave the album four stars and called it "the finest non-Ozzy or Dio Black Sabbath album". Anchored by the number 62 charting single "Headless Cross", the album reached number 31 on the UK chart, and number 115 in the U.S. Queen guitarist Brian May, a good friend of Iommi's, played a guest solo on the song "When Death Calls". Following the album's release the band added touring bassist Neil Murray, formerly of Colosseum II, National Health, Whitesnake, Gary Moore's backing band, and Vow Wow.
The unsuccessful Headless Cross U.S. tour began in May 1989 with openers Kingdom Come and Silent Rage, but because of poor ticket sales, the tour was cancelled after just eight shows. The European leg of the tour began in September, where the band were enjoying chart success. After a string of Japanese shows the band embarked on a 23 date Russian tour with Girlschool. Black Sabbath was one of the first bands to tour Russia, after Mikhail Gorbachev opened the country to western acts for the first time in 1989.
The band returned to the studio in February 1990 to record Tyr, the follow-up to Headless Cross. While not technically a concept album, some of the album's lyrical themes are loosely based on Norse mythology. Tyr was released on 6 August 1990, reaching number 24 on the UK albums chart, but was the first Black Sabbath release not to break the Billboard 200 in the U.S. The album would receive mixed internet-era reviews, with AllMusic noting that the band "mix myth with metal in a crushing display of musical synthesis", while Blender gave the album just one star, claiming that "Iommi continues to besmirch the Sabbath name with this unremarkable collection". The band toured in support of Tyr with Circus of Power in Europe, but the final seven United Kingdom dates were cancelled because of poor ticket sales. For the first time in their career, the band's touring cycle did not include U.S. dates.
1990–1992: Dio rejoins and Dehumanizer
While on his Lock Up the Wolves U.S. tour in August 1990, former Sabbath vocalist Ronnie James Dio was joined onstage at the Roy Wilkins Auditorium by Geezer Butler to perform "Neon Knights". Following the show, the two expressed interest in rejoining Sabbath. Butler convinced Iommi, who in turn broke up the current lineup, dismissing vocalist Tony Martin and bassist Neil Murray. "I do regret that in a lot of ways," Iommi said. "We were at a good point then. We decided to [reunite with Dio] and I don't even know why, really. There's the financial aspect, but that wasn't it. I seemed to think maybe we could recapture something we had."
Dio and Butler joined Iommi and Cozy Powell in autumn 1990 to begin the next Sabbath release. While rehearsing in November, Powell suffered a broken hip when his horse died and fell on the drummer's legs. Unable to complete the album, Powell was replaced by former drummer Vinny Appice, reuniting the Mob Rules lineup, and the band entered the studio with producer Reinhold Mack. The year-long recording was plagued with problems, primarily stemming from writing tension between Iommi and Dio. Songs were rewritten multiple times. "It was just hard work," Iommi said. "We took too long on it, that album cost us a million dollars, which is bloody ridiculous." Dio recalled the album as difficult, but worth the effort: "It was something we had to really wring out of ourselves, but I think that's why it works. Sometimes you need that kind of tension, or else you end up making the Christmas album".
The resulting Dehumanizer was released on 22 June 1992. In the U.S., the album was released on 30 June 1992 by Reprise Records, as Dio and his namesake band were still under contract to the label at the time. While the album received mixed , it was the band's biggest commercial success in a decade. Anchored by the top 40 rock radio single "TV Crimes", the album peaked at number 44 on the Billboard 200. The album also featured "Time Machine", a version of which had been recorded for the 1992 film Wayne's World. Additionally, the perception among fans of a return of some semblance of the "real" Sabbath provided the band with much needed momentum.
Sabbath began touring in support of Dehumanizer in July 1992 with Testament, Danzig, Prong, and Exodus. While on tour, former vocalist Ozzy Osbourne announced his first retirement, and invited Sabbath to open for his solo band at the final two shows of his No More Tours tour in Costa Mesa, California. The band agreed, aside from Dio, who told Iommi, "I'm not doing that. I'm not supporting a clown." Dio spoke of the situation years later:
Dio quit Sabbath following a show in Oakland, California on 13 November 1992, one night before the band were set to appear at Osbourne's retirement show. Judas Priest vocalist Rob Halford stepped in at the last minute, performing two nights with the band. Iommi and Butler joined Osbourne and former drummer Ward on stage for the first time since 1985's Live Aid concert, performing a brief set of Sabbath songs. This set the stage for a longer-term reunion of the original lineup, though that plan proved short-lived. "Ozzy, Geezer, Tony and Bill announced the reunion of Black Sabbath – again," remarked Dio. "And I thought that it was a great idea. But I guess Ozzy didn't think it was such a great idea… I'm never surprised when it comes to whatever happens with them. Never at all. They are very predictable. They don't talk."
1992–1997: Martin rejoins, Cross Purposes, and Forbidden
Drummer Vinny Appice left the band following the reunion show to rejoin Ronnie James Dio's solo band, later appearing on Dio's Strange Highways and Angry Machines. Iommi and Butler enlisted former Rainbow drummer Bobby Rondinelli, and reinstated former vocalist Tony Martin. The band returned to the studio to work on new material, although the project was not originally intended to be released under the Black Sabbath name. As Geezer Butler explains:
Under pressure from their record label, the band released their seventeenth studio album, Cross Purposes, on 8 February 1994, under the Black Sabbath name. The album received mixed reviews, with Blender giving the album two stars, calling Soundgarden's 1994 album Superunknown "a far better Sabbath album than this by-the-numbers potboiler". AllMusic's Bradley Torreano called Cross Purposes "the first album since Born Again that actually sounds like a real Sabbath record". The album just missed the Top 40 in the UK reaching number 41, and also reached 122 on the Billboard 200 in the U.S. Cross Purposes contained the song "Evil Eye", which was co-written by Van Halen guitarist Eddie Van Halen, although uncredited because of record label restrictions. Touring in support of Cross Purposes began in February with Morbid Angel and Motörhead in the U.S. The band filmed a live performance at the Hammersmith Apollo on 13 April 1994, which was released on VHS accompanied by a CD, titled Cross Purposes Live. After the European tour with Cathedral and Godspeed in June 1994, drummer Bobby Rondinelli quit the band and was replaced by original Black Sabbath drummer Ward for five shows in South America.
Following the touring cycle for Cross Purposes, bassist Geezer Butler quit the band for the second time. "I finally got totally disillusioned with the last Sabbath album, and I much preferred the stuff I was writing to the stuff Sabbath were doing". Butler formed a solo project called GZR, and released Plastic Planet in 1995. The album contained the song "Giving Up the Ghost", which was critical of Tony Iommi for carrying on with the Black Sabbath name, with the lyrics: You plagiarised and parodied / the magic of our meaning / a legend in your own mind / left all your friends behind / you can't admit that you're wrong / the spirit is dead and gone ("I heard it's something about me..." said Iommi. "I had the album given to me a while back. I played it once, then somebody else had it, so I haven't really paid any attention to the lyrics... It's nice to see him doing his own thing – getting things off his chest. I don't want to get into a rift with Geezer. He's still a friend."
Following Butler's departure, newly returned drummer Ward once again left the band. Iommi reinstated former members Neil Murray on bass and Cozy Powell on drums, effectively reuniting the 1990 Tyr line-up. The band enlisted Body Count guitarist Ernie C to produce the new album, which was recorded in London in autumn of 1994. The album featured a guest vocal on "Illusion of Power" by Body Count vocalist Ice-T. The resulting Forbidden was released on 8 June 1995, but failed to chart in the U.S. The album was widely panned by critics; AllMusic's Bradley Torreano said "with boring songs, awful production, and uninspired performances, this is easily avoidable for all but the most enthusiastic fan"; while Blender magazine called Forbidden "an embarrassment... the band's worst album".
Black Sabbath embarked on a world tour in July 1995 with openers Motörhead and Tiamat, but two months into the tour, drummer Cozy Powell left the band, citing health issues, and was replaced by former drummer Bobby Rondinelli. "The members I had in the last lineup – Bobby Rondinelli, Neil Murray – they're great, great characters..." Iommi told Sabbath fanzine Southern Cross. "That, for me, was an ideal lineup. I wasn't sure vocally what we should do, but Neil Murray and Bobby Rondinelli I really got on well with."
After completing Asian dates in December 1995, Tony Iommi put the band on hiatus, and began work on a solo album with former Black Sabbath vocalist Glenn Hughes, and former Judas Priest drummer Dave Holland. The album was not officially released following its completion, although a widely traded bootleg called Eighth Star surfaced soon after. The album was officially released in 2004 as The 1996 DEP Sessions, with Holland's drums re-recorded by session drummer Jimmy Copley.
In 1997, Tony Iommi disbanded the current line-up to officially reunite with Ozzy Osbourne and the original Black Sabbath line-up. Vocalist Tony Martin claimed that an original line-up reunion had been in the works since the band's brief reunion at Ozzy Osbourne's 1992 Costa Mesa show, and that the band released subsequent albums to fulfill their record contract with I.R.S. Records. Martin later recalled Forbidden (1995) as a "filler album that got the band out of the label deal, rid of the singer, and into the reunion. However I wasn't privy to that information at the time". I.R.S. Records released a compilation album in 1996 to fulfill the band's contract, titled The Sabbath Stones, which featured songs from Born Again (1983) to Forbidden (1995).
1997–2006: Osbourne rejoins and Reunion
In the summer of 1997, Iommi, Butler and Osbourne reunited to coheadline the Ozzfest tour alongside Osbourne's solo band. The line-up featured Osbourne's drummer Mike Bordin filling in for Ward. "It started off with me going off to join Ozzy for a couple of numbers," explained Iommi, "and then it got into Sabbath doing a short set, involving Geezer. And then it grew as it went on… We were concerned in case Bill couldn't make it – couldn't do it – because it was a lot of dates, and important dates… The only rehearsal that we had to do was for the drummer. But I think if Bill had come in, it would have took a lot more time. We would have had to focus a lot more on him."
In December 1997, the group was joined by Ward, marking the first reunion of the original quartet since Osbourne's 1992 "retirement show". This lineup recorded two shows at the Birmingham NEC, released as the double album Reunion on 20 October 1998. The album reached number eleven on the Billboard 200, went platinum in the U.S. and spawned the single "Iron Man", which won Sabbath their first Grammy Award in 2000 for Best Metal Performance, 30 years after the song was originally released. Reunion featured two new studio tracks, "Psycho Man" and "Selling My Soul", both of which cracked the top 20 of the Billboard Mainstream Rock Tracks chart.
Shortly before a European tour in the summer of 1998, Ward suffered a heart attack and was temporarily replaced by former drummer Vinny Appice. Ward returned for a U.S. tour with openers Pantera, which began in January 1999 and continued through the summer, headlining the annual Ozzfest tour. Following these appearances, the band was put on hiatus while members worked on solo material. Iommi released his first official solo album, Iommi, in 2000, while Osbourne continued work on Down to Earth (2001).
Sabbath returned to the studio to work on new material with all four original members and producer Rick Rubin in the spring of 2001, but the sessions were halted when Osbourne was called away to finish tracks for his solo album in the summer. "It just came to an end…" Iommi said. "It's a shame because [the songs] were really Iommi commented on the difficulty getting all the members together to work:
In March 2002, Osbourne's Emmy-winning reality show The Osbournes debuted on MTV, and quickly became a worldwide hit. The show introduced Osbourne to a broader audience and to capitalise, the band's back catalogue label, Sanctuary Records released a double live album Past Lives (2002), which featured concert material recorded in the 1970s, including the Live at Last (1980) album. The band remained on hiatus until the summer of 2004 when they returned to headline Ozzfest 2004 and 2005. In November 2005, Black Sabbath were inducted into the UK Music Hall of Fame, and in March 2006, after eleven years of eligibility—Osbourne famously refused the Hall's "meaningless" initial nomination in 1999—the band were inducted into the U.S. Rock and Roll Hall of Fame. At the awards ceremony Metallica played two Sabbath songs, "Hole in the Sky" and "Iron Man" in tribute.
2006–2010: The Dio Years and Heaven & Hell
While Ozzy Osbourne was working on new solo album material in 2006, Rhino Records released Black Sabbath: The Dio Years, a compilation of songs culled from the four Black Sabbath releases featuring Ronnie James Dio. For the release, Iommi, Butler, Dio, and Appice reunited to write and record three new songs as Black Sabbath. The Dio Years was released on 3 April 2007, reaching number 54 on the Billboard 200, while the single "The Devil Cried" reached number 37 on the Mainstream Rock Tracks chart. Pleased with the results, Iommi and Dio decided to reunite the Dio era line-up for a world tour. While the line-up of Osbourne, Butler, Iommi, and Ward was still officially called Black Sabbath, the new line-up opted to call themselves Heaven & Hell, after the album of the same title, to avoid confusion. When asked about the name of the group, Iommi stated "it really is Black Sabbath, whatever we do... so everyone knows what they're getting [and] so people won't expect to hear 'Iron Man' and all those songs. We've done them for so many years, it's nice to do just all the stuff we did with Ronnie again."
Ward was initially set to participate, but dropped out before the tour began due to musical differences with "a couple of the band members". He was replaced by former drummer Vinny Appice, effectively reuniting the line-up that had featured on the Mob Rules (1981) and Dehumanizer (1992) albums.
Heaven & Hell toured the U.S. with openers Megadeth and Machine Head, and recorded a live album and DVD in New York on 30 March 2007, titled Live from Radio City Music Hall. In November 2007, Dio confirmed that the band had plans to record a new studio album, which was recorded in the following year. In April 2008 the band announced the upcoming release of a new box set and their participation in the Metal Masters Tour, alongside Judas Priest, Motörhead and Testament. The box set, The Rules of Hell, featuring remastered versions of all the Dio fronted Black Sabbath albums, was supported by the Metal Masters Tour. In 2009, the band announced the title of their debut studio album, The Devil You Know, released on 28 April.
On 26 May 2009, Osbourne filed suit in a federal court in New York against Iommi alleging that he illegally claimed the band name. Iommi noted that he has been the only constant band member for its full 41-year career and that his bandmates relinquished their rights to the name in the 1980s, therefore claiming more rights to the name of the band. Although in the suit, Osbourne was seeking 50% ownership of the trademark, he said that he hoped the proceedings would lead to equal ownership among the four original members.
In March 2010, Black Sabbath announced that along with Metallica they would be releasing a limited edition single together to celebrate Record Store Day. It was released on 17 April 2010. Ronnie James Dio died on 16 May 2010 from stomach cancer. In June 2010, the legal battle between Ozzy Osbourne and Tony Iommi over the trademarking of the Black Sabbath name ended, but the terms of the settlement have not been disclosed.
2010–2014: Second Osbourne reunion and 13
In a January 2010 interview while promoting his biography I Am Ozzy, Osbourne stated that although he would not rule it out, he was doubtful there would be a reunion with all four original members of the band. Osbourne stated: "I'm not gonna say I've written it out forever, but right now I don't think there's any chance. But who knows what the future holds for me? If it's my destiny, fine." In July, Butler said that there would be no reunion in 2011, as Osbourne was already committed to touring with his solo band. However, by that August they had already met up to rehearse together, and continued to do so through the autumn.
On 11 November 2011, Iommi, Butler, Osbourne, and Ward announced that they were reuniting to record a new album with a full tour in support beginning in 2012. Guitarist Iommi was diagnosed with lymphoma on 9 January 2012, which forced the band to cancel all but two shows (Download Festival, and Lollapalooza Festival) of a previously booked European tour. It was later announced that an intimate show would be played in their hometown Birmingham. It was the first concert since the reunion and the only indoors concerts that year. In February 2012, drummer Ward announced that he would not participate further in the band's reunion until he was offered a "signable contract".
On 21 May 2012, at the O2 Academy in Birmingham, Black Sabbath played their first concert since 2005, with Tommy Clufetos playing the drums. In June, they performed at the Download Festival at the Donington Park motorsports circuit in Leicestershire, England, followed by the last concert of the short tour at Lollapalooza Festival in Chicago. Later that month, the band started recording an album.
On 13 January 2013, the band announced that the album would be released in June under the title 13. Brad Wilk of Rage Against the Machine was chosen as the drummer, and Rick Rubin was chosen as the producer. Mixing of the album commenced in February. On 12 April 2013, the band released the album's track listing. The standard version of the album features eight new tracks, and the deluxe version features three bonus tracks.
The band's first single from 13, "God Is Dead?", was released on 19 April 2013. On 20 April 2013, Black Sabbath commenced their first Australia/New Zealand tour in 40 years followed by a North American Tour in Summer 2013. The second single of the album, "End of the Beginning", debuted on 15 May in a CSI: Crime Scene Investigation episode, where all three members appeared. In June 2013, 13 topped both the UK Albums Chart and the U.S. Billboard 200, becoming their first album to reach number one on the latter chart. In 2014, Black Sabbath received their first Grammy Award since 2000 with "God Is Dead?" winning Best Metal Performance.
In July 2013, Black Sabbath embarked on a North American Tour (for the first time since July 2001), followed by a Latin American tour in October 2013. In November 2013, the band started their European tour which lasted until December 2013. In March and April 2014, they made 12 stops in North America (mostly in Canada) as the second leg of their North American Tour before embarking in June 2014 on the second leg of their European tour, which ended with a concert at London's Hyde Park.
2014–2017: Cancelled twentieth album, The End, and disbandment
On 29 September 2014, Osbourne told Metal Hammer that Black Sabbath would begin work on their twentieth studio album in early 2015 with producer Rick Rubin, followed by a final tour in 2016. In an April 2015 interview, however, Osbourne said that these plans "could change", and added, "We all live in different countries and some of them want to work and some of them don't want to, I believe. But we are going to do another tour together."
On 3 September 2015, it was announced that Black Sabbath would embark on their final tour, titled The End, from January 2016 to February 2017. Numerous dates and locations across the U.S., Canada, Europe, Australia and New Zealand were announced. The final shows of The End tour took place at the Genting Arena in their home city of Birmingham, England on 2 and 4 February 2017. On 26 October 2015, it was announced the band consisting of Osbourne, Iommi and Butler would be returning to the Download Festival on 11 June 2016. Despite earlier reports that they would enter the studio before their farewell tour, Osbourne stated that there would not be another Black Sabbath studio album. However, an 8-track CD entitled The End was sold at dates on the tour. Along with some live recordings, the CD includes four unused tracks from the 13 sessions.
On 4 March 2016, Iommi discussed future re-releases of the Tony Martin-era catalogue: "We've held back on the reissues of those albums because of the current Sabbath thing with Ozzy Osbourne, but they will certainly be happening... I'd like to do a couple of new tracks for those releases with Tony Martin... I'll also be looking at working on Cross Purposes and Forbidden." Martin had suggested that this could coincide with the 30th anniversary of The Eternal Idol, in 2017. In an interview that August, Martin added "[Iommi] still has his cancer issues of course and that may well stop it all from happening but if he wants to do something I am ready." On 10 August 2016, Iommi revealed that his cancer was in remission.
Asked in November 2016 about his plans after Black Sabbath's final tour, Iommi replied, "I'll be doing some writing. Maybe I'll be doing something with the guys, maybe in the studio, but no touring." The band played their final concert on 4 February 2017 in Birmingham. The final song was streamed live on the band's Facebook page and fireworks went off as the band took their final bow. The band's final tour was not an easy one, as longstanding tensions between Osbourne and Iommi returned to the surface. Iommi stated that he would not rule out the possibility of one-off shows, "I wouldn't write that off, if one day that came about. That's possible. Or even doing an album, 'cause then, again, you're in one place. But I don't know if that would happen." In an April 2017 interview, Butler revealed that Black Sabbath considered making a blues album as the follow-up to 13, but added that, "the tour got in the way."
On 7 March 2017, Black Sabbath announced their disbandment through posts made on their official social media accounts.
2017–present: Aftermath
In a June 2018 interview with ITV News, Osbourne expressed interest in reuniting with Black Sabbath for a performance at the 2022 Commonwealth Games which is due to be held in their home city Birmingham. Iommi said that performing at the event as Black Sabbath would be "a great thing to do to help represent Birmingham. I'm up for it. Let's see what happens." He also did not rule out the possibility for the band to reform only for a one-off performance rather than a full-length tour.
In September 2020, Osbourne stated in an interview that he was no longer interested in a reunion: "Not for me. It's done. The only thing I do regret is not doing the last farewell show in Birmingham with Bill Ward. I felt really bad about that. It would have been so nice. I don't know what the circumstances behind it were, but it would have been nice. I've talked to Tony a few times, but I don't have any of the slightest interest in doing another gig. Maybe Tony's getting bored now." Butler also ruled out the possibility of any future Black Sabbath performances in an interview with Eonmusic on 10 November 2020, stating that the band is over: "There will definitely be no more Sabbath. It's done." Iommi however, pondered the possibility of another reunion tour in an interview with The Mercury News, stating that he "would like to play with the guys again" and that he misses the audiences and stage. Bill Ward stated in an interview with Eddie Trunk that he no longer has the ability or chops to perform with Black Sabbath in concert, but expressed that he would love to make another album with Osbourne, Butler and Iommi.
Despite ruling out the possibility of another Black Sabbath reunion, Osbourne revealed in an episode of Ozzy Speaks on Ozzy's Boneyard that he is working with Iommi, who will appear as one of the guests for his upcoming thirteenth solo album. In an October 2021 interview with the Metro, Ward revealed that he has kept "in contact" with his former bandmates and stated that he is "very open-minded" to the possibility of recording another Black Sabbath album: "I haven't spoken to the guys about it, but I have talked to a couple of people in management about the possibility of making a recording."
On 30 September 2020, Black Sabbath announced a new Dr. Martens shoe collection. The partnership with the British footwear company celebrated the 50th anniversaries of the band's Black Sabbath and Paranoid albums, with the boots depicting artwork from the former. On 13 January 2021, the band announced that they would reissue both Heaven & Hell and Mob Rules as expanded deluxe editions on 5 March 2021, with unreleased material included.
Musical style
Black Sabbath were a heavy metal band, whose music has also been described as psychedelic rock, and acid rock. The band have also been cited as a key influence on genres including stoner rock, grunge, doom metal, and sludge metal. Early on, Black Sabbath were influenced by Cream, The Beatles, Fleetwood Mac, Jimi Hendrix, John Mayall & the Bluesbreakers, Blue Cheer, Led Zeppelin, and Jethro Tull.
Although Black Sabbath went through many line-ups and stylistic changes, their core sound focuses on ominous lyrics and doomy music, often making use of the musical tritone, also called the "devil's interval". While their Ozzy-era albums such as Sabbath Bloody Sabbath (1973) had slight compositional similarities to the progressive rock genre that was growing in popularity at the time, standing in stark contrast to popular music of the early 1970s, Black Sabbath's dark sound was dismissed by rock critics of the era. Much like many of their early heavy metal contemporaries, the band received virtually no airplay on rock radio.
As the band's primary songwriter, Tony Iommi wrote the majority of Black Sabbath's music, while Osbourne would write vocal melodies, and bassist Geezer Butler would write lyrics. The process was sometimes frustrating for Iommi, who often felt pressured to come up with new material: "If I didn't come up with anything, nobody would do anything." On Iommi's influence, Osbourne later said:
Beginning with their third album, Master of Reality (1971), Black Sabbath began to feature tuned-down guitars. In 1965, before forming Black Sabbath, guitarist Tony Iommi suffered an accident while working in a sheet metal factory, losing the tips of two fingers on his right hand. Iommi almost gave up music, but was urged by the factory manager to listen to Django Reinhardt, a jazz guitarist who lost the use of two fingers in a fire. Inspired by Reinhardt, Iommi created two thimbles made of plastic and leather to cap off his missing fingertips. The guitarist began using lighter strings, and detuning his guitar, to better grip the strings with his prosthesis. Early in the band's history Iommi experimented with different dropped tunings, including C tuning, or 3 semitones down, before settling on E/D tuning, or a half-step down from standard tuning.
Legacy
Black Sabbath has sold over 70 million records worldwide, including a RIAA-certified 15 million in the U.S. They are one of the most influential heavy metal bands of all time. The band helped to create the genre with ground-breaking releases such as Paranoid (1970), an album that Rolling Stone magazine said "changed music forever", and called the band "the Beatles of heavy metal". Time magazine called Paranoid "the birthplace of heavy metal", placing it in their Top 100 Albums of All Time.
MTV placed Black Sabbath at number one on their Top Ten Heavy Metal Bands and VH1 placed them at number two on their list of the 100 Greatest Artists of Hard Rock. VH1 ranked Black Sabbath's "Iron Man" the number one song on their 40 Greatest Metal Songs countdown. Rolling Stone magazine ranked the band number 85 in their list of the "100 Greatest Artists of All Time". AllMusic's William Ruhlmann said:
According to Rolling Stone Holly George-Warren, "Black Sabbath was the heavy metal king of the 1970s." Although initially "despised by rock critics and ignored by radio programmers", the group sold more than 8 million albums by the end of that decade. "The heavy metal band…" marvelled Ronnie James Dio. "A band that didn't apologise for coming to town; it just stepped on buildings when it came to town."
Influence and innovation
Black Sabbath have influenced many acts including Judas Priest, Iron Maiden, Diamond Head, Slayer, Metallica, Nirvana, Korn, Black Flag, Mayhem, Venom, Guns N' Roses, Soundgarden, Body Count, Alice in Chains, Anthrax, Disturbed, Death, Opeth, Pantera, Megadeth, the Smashing Pumpkins, Slipknot, Foo Fighters, Fear Factory, Candlemass, Godsmack, and Van Halen. Two gold selling tribute albums have been released, Nativity in Black Volume 1 & 2, including covers by Sepultura, White Zombie, Type O Negative, Faith No More, Machine Head, Primus, System of a Down, and Monster Magnet.
Metallica's Lars Ulrich, who, along with bandmate James Hetfield inducted Black Sabbath into the Rock and Roll Hall of Fame in 2006, said "Black Sabbath is and always will be synonymous with heavy metal", while Hetfield said "Sabbath got me started on all that evil-sounding shit, and it's stuck with me. Tony Iommi is the king of the heavy riff." Guns N' Roses guitarist Slash said of the Paranoid album: "There's just something about that whole record that, when you're a kid and you're turned onto it, it's like a whole different world. It just opens up your mind to another dimension...Paranoid is the whole Sabbath experience; very indicative of what Sabbath meant at the time. Tony's playing style—doesn't matter whether it's off Paranoid or if it's off Heaven and Hell—it's very distinctive." Anthrax guitarist Scott Ian said "I always get the question in every interview I do, 'What are your top five metal albums?' I make it easy for myself and always say the first five Sabbath albums."
Lamb of God's Chris Adler said: "If anybody who plays heavy metal says that they weren't influenced by Black Sabbath's music, then I think that they're lying to you. I think all heavy metal music was, in some way, influenced by what Black Sabbath did." Judas Priest vocalist Rob Halford commented: "They were and still are a groundbreaking band...you can put on the first Black Sabbath album and it still sounds as fresh today as it did 30-odd years ago. And that's because great music has a timeless ability: To me, Sabbath are in the same league as the Beatles or Mozart. They're on the leading edge of something extraordinary." On Black Sabbath's standing, Rage Against the Machine guitarist Tom Morello states: "The heaviest, scariest, coolest riffs and the apocalyptic Ozzy wail are without peer. You can hear the despair and menace of the working-class Birmingham streets they came from in every kick-ass, evil groove. Their arrival ground hippy, flower-power psychedelia to a pulp and set the standard for all heavy bands to come." Phil Anselmo of Pantera and Down stated that "Only a fool would leave out what Black Sabbath brought to the heavy metal genre".
According to Tracii Guns of L.A. Guns and former member of Guns N' Roses, the main riff of "Paradise City" by Guns N' Roses, from Appetite for Destruction (1987), was influenced by the song "Zero the Hero" from the Born Again album. King Diamond guitarist Andy LaRocque affirmed that the clean guitar part of "Sleepless Nights" from Conspiracy (1989) is inspired by Tony Iommi's playing on Never Say Die!.
In addition to being pioneers of heavy metal, they also have been credited for laying the foundations for heavy metal subgenres stoner rock, sludge metal, thrash metal, black metal and doom metal as well as for alternative rock subgenre grunge. According to the critic Bob Gulla, the band's sound "shows up in virtually all of grunge's most popular bands, including Nirvana, Soundgarden, and Alice in Chains".
Tony Iommi has been credited as the pioneer of lighter gauge guitar strings. The tips of his fingers were severed in a steel factory, and while using thimbles (artificial finger tips) he found that standard guitar strings were too difficult to bend and play. He found that there was only one size of strings available, so after years with Sabbath he had strings custom made.
Culturally, Black Sabbath have exerted a huge influence in both television and literature and have in many cases become synonymous with heavy metal. In the film Almost Famous, Lester Bangs gives the protagonist an assignment to cover the band (plot point one) with the immortal line: 'Give me 500 words on Black Sabbath'. Contemporary music and arts publication Trebuchet Magazine has put this to practice by asking all new writers to write a short piece (500 words) on Black Sabbath as a means of proving their creativity and voice on a well documented subject.
Band members
Original lineup
Tony Iommi – guitars
Bill Ward – drums
Geezer Butler – bass
Ozzy Osbourne – vocals, harmonica
Discography
Black Sabbath (1970)
Paranoid (1970)
Master of Reality (1971)
Vol. 4 (1972)
Sabbath Bloody Sabbath (1973)
Sabotage (1975)
Technical Ecstasy (1976)
Never Say Die! (1978)
Heaven and Hell (1980)
Mob Rules (1981)
Born Again (1983)
Seventh Star (1986)
The Eternal Idol (1987)
Headless Cross (1989)
Tyr (1990)
Dehumanizer (1992)
Cross Purposes (1994)
Forbidden (1995)
13'' (2013)
Tours
Polka Tulk Blues/Earth Tour 1968–1969
Black Sabbath Tour 1970
Paranoid Tour 1970–1971
Master of Reality Tour 1971–1972
Vol. 4 Tour 1972–1973
Sabbath Bloody Sabbath Tour 1973–1974
Sabotage Tour 1975–1976
Technical Ecstasy Tour 1976–1977
Never Say Die! Tour 1978
Heaven & Hell Tour 1980–1981
Mob Rules Tour 1981–1982
Born Again Tour 1983
Seventh Star Tour 1986
Eternal Idol Tour 1987
Headless Cross Tour 1989
Tyr Tour 1990
Dehumanizer Tour 1992
Cross Purposes Tour 1994
Forbidden Tour 1995
Ozzfest Tour 1997
European Tour 1998
Reunion Tour 1998–1999
Ozzfest Tour 1999
U.S. Tour 1999
European Tour 1999
Ozzfest Tour 2001
Ozzfest Tour 2004
European Tour 2005
Ozzfest Tour 2005
Black Sabbath Reunion Tour, 2012–2014
The End Tour 2016–2017
See also
List of cover versions of Black Sabbath songs
Heavy metal groups
References
Sources
External links
Black Sabbath biography by James Christopher Monger, discography and album reviews, credits & releases at AllMusic
Black Sabbath discography, album releases & credits at Discogs.com
Musical groups established in 1968
Musical groups disestablished in 2006
Musical groups reestablished in 2011
Musical groups disestablished in 2017
English heavy metal musical groups
Grammy Lifetime Achievement Award winners
1968 establishments in England
2017 disestablishments in England
Kerrang! Awards winners
I.R.S. Records artists
Vertigo Records artists
Musical groups from Birmingham, West Midlands
Musical quartets
| false |
[
"Streets In The Sky is the third studio album by Coventry-based indie rock band The Enemy, released on 21 May 2012 through Cooking Vinyl and eOne Music. It entered the UK Albums Chart at no. 9, and was met with universally negative reviews.\n\nReception\n\nCritical reception was mostly extremely negative, with Album of the Year rating it as the worst album of 2012 as reviewed by critics. The album scored 2.9/10 at aggregator website AnyDecentMusic? (the fourth-lowest rated album of all time). However, NME gave the album a mixed review.\n\nTrack listing\n\nMusic videos\n 1,2,3,4 (acoustic)\n Gimme the Sign\n Saturday\n Saturday (acoustic)\n Like a Dancer\n\nReferences\n\nExternal links\n REVIEW: The Enemy single \"Saturday\"\n\n2012 albums\nThe Enemy (UK rock band) albums\nCooking Vinyl albums\nE1 Music albums",
"Stretch is the ninth studio album by the American solo artist Scott Walker. It was released in November 1973 but was unsuccessful on the music charts. It was Walker's first solo album for CBS/Columbia records after departing from Philips Records.\n\nThe majority of the songs recorded for the album were covers of old songs, some of which were by songwriters Walker had covered before such as Randy Newman and Jimmy Webb. The one new song \"Someone Who Cared\" was written by the album's producer, Del Newman. The album was recorded in 1973 at Nova Studios, Marble Arch, London. Receiving negative reviews from critics the album was released as an LP in November 1973. The album was reissued and released on CD in 1997 by BGO Records coupled with Walker's tenth studio album 1974's We Had It All.\n\nReception\n\nStretch received negative reviews from the majority of critics.\n\nTrack listing\n\nRelease details\n\nReferences\n\nScott Walker (singer) albums\n1973 albums\nColumbia Records albums\nAlbums produced by Del Newman"
] |
[
"Black Sabbath",
"Born Again (1983-1984)",
"Is Born Again the name of a Black Sabbath album?",
"Born Again (7 August 1983) was panned upon release by critics. Despite the negative reception of the album,",
"What is a single from the album?",
"The band headlined the 1983 Reading Festival in England, adding the Deep Purple song \"Smoke on the Water\" to their set list.",
"How did Born Again do on the music charts?",
"Despite the negative reception of the album, it reached number four on the UK charts, and number 39 in the U.S.",
"Why did the critics have a negative reception of the album?",
"I don't know."
] |
C_33cdd6eae6294662ac88929b38897497_1
|
Did the band tour for this album?
| 5 |
Did Black Sabbath tour for the album Born Again?
|
Black Sabbath
|
The remaining two original members, Tony Iommi and Geezer Butler, began auditioning new singers for the band's next release. Samson's Nicky Moore, and Lone Star's John Sloman were considered and Iommi states in his autobiography that Michael Bolton auditioned for the band. The band settled on former Deep Purple vocalist Ian Gillan to replace Ronnie James Dio in December 1982. While the project was not initially set to be called Black Sabbath, pressures from the record label forced the group to retain the name. The band entered The Manor Studios in Shipton-on-Cherwell, Oxfordshire, in June 1983 with a returned and newly sober Bill Ward on drums. Born Again (7 August 1983) was panned upon release by critics. Despite the negative reception of the album, it reached number four on the UK charts, and number 39 in the U.S. Even a decade after its release AllMusic's Eduardo Rivadavia called the album "dreadful", noting that "Gillan's bluesy style and humorous lyrics were completely incompatible with the lords of doom and gloom". Although he performed on the album, drummer Ward was unable to tour because of the pressures of the road, and quit the band after the commencement of the Born Again album. "I fell apart with the idea of touring", Ward later said. "I got so much fear behind touring, I didn't talk about the fear, I drank behind the fear instead and that was a big mistake." Ward was replaced by former Electric Light Orchestra drummer Bev Bevan for the Born Again '83 -'84 world tour, (often unofficially referred to as the 'Feigh Death Sabbath '83 - '84' World Tour) which began in Europe with Diamond Head, and later in the U.S. with Quiet Riot and Night Ranger. The band headlined the 1983 Reading Festival in England, adding the Deep Purple song "Smoke on the Water" to their set list. The tour in support of Born Again included a giant set of the Stonehenge monument. In a move that would be later parodied in the mockumentary This Is Spinal Tap, the band made a mistake in ordering the set piece. As Geezer Butler later explained: We had Sharon Osbourne's dad, Don Arden, managing us. He came up with the idea of having the stage set be Stonehenge. He wrote the dimensions down and gave it to our tour manager. He wrote it down in metres but he meant to write it down in feet. The people who made it saw fifteen metres instead of fifteen feet. It was 45 feet high and it wouldn't fit on any stage anywhere so we just had to leave it in the storage area. It cost a fortune to make but there was not a building on earth that you could fit it into. CANNOTANSWER
|
Although he performed on the album, drummer Ward was unable to tour because of the pressures of the road, and quit the band
|
Black Sabbath were an English rock band formed in Birmingham in 1968 by guitarist Tony Iommi, drummer Bill Ward, bassist Geezer Butler and vocalist Ozzy Osbourne. They are often cited as pioneers of heavy metal music. The band helped define the genre with releases such as Black Sabbath (1970), Paranoid (1970), and Master of Reality (1971). The band had multiple line-up changes following Osbourne's departure in 1979, with Iommi being the only constant member throughout its history.
After previous iterations of the group called the Polka Tulk Blues Band and Earth, the band settled on the name Black Sabbath in 1969. They distinguished themselves through occult themes with horror-inspired lyrics and down-tuned guitars. Signing to Philips Records in November 1969, they released their first single, "Evil Woman" in January 1970. Their debut album, Black Sabbath, was released the following month. Though it received a negative critical response, the album was a commercial success, leading to a follow-up record, Paranoid, later that year. The band's popularity grew, and by 1973's Sabbath Bloody Sabbath, critics were starting to respond favourably.
Osbourne's excessive substance abuse led to his firing in 1979. He was replaced by former Rainbow vocalist Ronnie James Dio. Following two albums with Dio, Black Sabbath endured many personnel changes in the 1980s and 1990s that included vocalists Ian Gillan, Glenn Hughes, Ray Gillen and Tony Martin, as well as several drummers and bassists. Martin, who replaced Gillen in 1987, was the second longest serving vocalist and recorded three albums with Black Sabbath before his dismissal in 1991. That same year, Iommi and Butler were rejoined by Dio and drummer Vinny Appice to record Dehumanizer (1992). After two more studio albums with Martin, who replaced Dio in 1993, the band's original line-up reunited in 1997 and released a live album Reunion the following year; they continued to tour occasionally until 2005. Other than various back catalogue reissues and compilation albums, as well as the Mob Rules-era lineup reunited as Heaven & Hell, there was no further activity under the Black Sabbath name for six years. They reunited in 2011 and released their final studio album and nineteenth overall, 13 (2013), which features all of the original members except Ward. During their farewell tour, the band played their final concert in their home city of Birmingham on 4 February 2017.
Black Sabbath have sold over 70 million records worldwide as of 2013, making them one of the most commercially successful heavy metal bands. They were ranked by MTV as the "Greatest Metal Band" of all time, and placed second in VH1's "100 Greatest Artists of Hard Rock" list. Rolling Stone magazine ranked them number 85 on their "100 Greatest Artists of All Time". Black Sabbath were inducted into the UK Music Hall of Fame in 2005 and the Rock and Roll Hall of Fame in 2006. They have also won two Grammy Awards for Best Metal Performance, and in 2019 the band were presented a Grammy Lifetime Achievement Award.
History
1968–1969: Formation and early days
Following the break-up of their previous band Mythology in 1968, guitarist Tony Iommi and drummer Bill Ward sought to form a heavy blues rock band in Aston, Birmingham. They enlisted bassist Geezer Butler and vocalist Ozzy Osbourne, who had played together in a band called Rare Breed, Osbourne having placed an advertisement in a local music shop: "OZZY ZIG Needs Gig – has own PA". The new group was initially named the Polka Tulk Blues Band, the name taken either from a brand of talcum powder or an Indian/Pakistani clothing shop; the exact origin is confused. The Polka Tulk Blues Band included slide guitarist Jimmy Phillips, a childhood friend of Osbourne's, and saxophonist Alan "Aker" Clarke. After shortening the name to Polka Tulk, the band again changed their name to Earth (which Osbourne hated) and continued as a four-piece without Phillips and Clarke. Iommi became concerned that Phillips and Clarke lacked the necessary dedication and were not taking the band seriously. Rather than asking them to leave, they instead decided to break up and then quietly reformed the band as a four-piece. While the band was performing under the Earth title, they recorded several demos written by Norman Haines such as "The Rebel", "Song for Jim", and "When I Came Down". The demo titled "Song for Jim" was in reference to Jim Simpson. Simpson was a manager for the bands Bakerloo Blues Line and Tea & Symphony, as well as being trumpet player for the group Locomotive. Simpson had recently started a new club named Henry's Blueshouse at The Crown Hotel in Birmingham and offered to let Earth play there after they agreed to waive the usual support band fee in return for free t-shirts. The audience response was positive and Simpson agreed to manage Earth.
In December 1968, Iommi abruptly left Earth to join Jethro Tull. Although his stint with the band would be short-lived, Iommi made an appearance with Jethro Tull on The Rolling Stones Rock and Roll Circus TV show. Unsatisfied with the direction of Jethro Tull, Iommi returned to Earth by the end of the month. "It just wasn't right, so I left", Iommi said. "At first I thought Tull were great, but I didn't much go for having a leader in the band, which was Ian Anderson's way. When I came back from Tull, I came back with a new attitude altogether. They taught me that to get on, you got to work for it."
While playing shows in England in 1969, the band discovered they were being mistaken for another English group named Earth. They decided to change their name again. A cinema across the street from the band's rehearsal room was showing the 1963 horror film Black Sabbath starring Boris Karloff and directed by Mario Bava. While watching people line up to see the film, Butler noted that it was "strange that people spend so much money to see scary movies". Following that, Osbourne and Butler wrote the lyrics for a song called "Black Sabbath", which was inspired by the work of horror and adventure-story writer Dennis Wheatley, along with a vision that Butler had of a black silhouetted figure standing at the foot of his bed. Making use of the musical tritone, also known as "the Devil's Interval", the song's ominous sound and dark lyrics pushed the band in a darker direction, a stark contrast to the popular music of the late 1960s, which was dominated by flower power, folk music, and hippie culture. Judas Priest frontman Rob Halford has called the track "probably the most evil song ever written". Inspired by the new sound, the band changed their name to Black Sabbath in August 1969, and made the decision to focus on writing similar material, in an attempt to create the musical equivalent of horror films.
1969–1971: Black Sabbath and Paranoid
The band's first show as Black Sabbath took place on 30 August 1969, in Workington, England. They were signed to Philips Records in November 1969, and released their first single, "Evil Woman" (a cover of a song by the band Crow), recorded at Trident Studios, through Philips subsidiary Fontana Records in January 1970. Later releases were handled by Philips' newly formed progressive rock label, Vertigo Records.
Black Sabbath's first major exposure came when the band appeared on John Peel's Top Gear radio show in 1969, performing "Black Sabbath", "N.I.B.", "Behind the Wall of Sleep", and "Sleeping Village" to a national audience in Great Britain shortly before recording of their first album commenced. Although the "Evil Woman" single failed to chart, the band were afforded two days of studio time in November to record their debut album with producer Rodger Bain. Iommi recalls recording live: "We thought 'We have two days to do it and one of the days is mixing.' So we played live. Ozzy was singing at the same time, we just put him in a separate booth and off we went. We never had a second run of most of the stuff."
Black Sabbath was released on Friday the 13th, February 1970, and reached number 8 in the UK Albums Chart. Following its U.S. and Canadian release in May 1970 by Warner Bros. Records, the album reached number 23 on the Billboard 200, where it remained for over a year. The album was given negative reviews by many critics. Lester Bangs dismissed it in a Rolling Stone review as "discordant jams with bass and guitar reeling like velocitised speedfreaks all over each other's musical perimeters, yet never quite finding synch". It sold in substantial numbers despite being panned, giving the band their first mainstream exposure. It has since been certified platinum in both U.S. by the Recording Industry Association of America (RIAA) and in the UK by British Phonographic Industry (BPI), and is now generally accepted as the first heavy metal album.
The band returned to the studio in June 1970, just four months after Black Sabbath was released. The new album was initially set to be named War Pigs after the song "War Pigs", which was critical of the Vietnam War; however, Warner changed the title of the album to Paranoid. The album's lead-off single, "Paranoid", was written in the studio at the last minute. Ward explains: "We didn't have enough songs for the album, and Tony just played the [Paranoid] guitar lick and that was it. It took twenty, twenty-five minutes from top to bottom." The single was released in September 1970 and reached number four on the UK Singles Chart, remaining Black Sabbath's only top ten hit. The album followed in the UK in October 1970, where, pushed by the success of the "Paranoid" single, it made number one in the UK Albums Chart.
The U.S. release was held off until January 1971, as the Black Sabbath album was still on the chart at the time of Paranoids UK release. The album reached No. 12 in the U.S. in March 1971, and would go on to sell four million copies in the U.S., with virtually no radio airplay. Like Black Sabbath, the album was panned by rock critics of the era, but modern-day reviewers such as AllMusic's Steve Huey cite Paranoid as "one of the greatest and most influential heavy metal albums of all time", which "defined the sound and style of heavy metal more than any other record in rock history". The album was ranked at No. 131 on Rolling Stone magazine's list of The 500 Greatest Albums of All Time. Paranoids chart success allowed the band to tour the U.S. for the first time (playing their first U.S. show at a club called Ungano's at 210 West 70th Street in New York City) and spawned the release of the album's second single "Iron Man". Although the single failed to reach the top 40, "Iron Man" remains one of Black Sabbath's most popular songs, as well as the band's highest charting U.S. single until 1998's "Psycho Man".
1971–1973: Master of Reality and Volume 4
In February 1971, after a one-off performance at the Myponga Pop Festival in Australia, Black Sabbath returned to the studio to begin work on their third album. Following the chart success of Paranoid, the band were afforded more studio time, along with a "briefcase full of cash" to buy drugs. "We were getting into coke, big time", Ward explained. "Uppers, downers, Quaaludes, whatever you like. It got to the stage where you come up with ideas and forget them, because you were just so out of it."
Production completed in April 1971, in July the band released Master of Reality, just six months after the U.S. release of Paranoid. The album reached the top ten in the U.S. and the United Kingdom, and was certified gold in less than two months, eventually receiving platinum certification in the 1980s and Double Platinum in the early 21st century. It contained Sabbath's first acoustic songs, alongside fan favourites such as "Children of the Grave" and "Sweet Leaf". Critical response of the era was generally unfavourable, with Lester Bangs delivering an ambivalent review of Master of Reality in Rolling Stone, describing the closing "Children of the Grave" as "naïve, simplistic, repetitive, absolute doggerel – but in the tradition [of rock'n'roll]... The only criterion is excitement, and Black Sabbath's got it". (In 2003, Rolling Stone would place the album at number 300 on their 500 Greatest Albums of All Time list.)
Following the Master of Reality world tour in 1972, Sabbath took its first break in three years. As Ward explained: "The band started to become very fatigued and very tired. We'd been on the road non-stop, year in and year out, constantly touring and recording. I think Master of Reality was kind of like the end of an era, the first three albums, and we decided to take our time with the next album."
In June 1972, the band reconvened in Los Angeles to begin work on their next album at the Record Plant. With more time in the studio, the album saw the band experimenting with new textures, such as strings, piano, orchestration and multi-part songs. Recording was plagued with problems, many as a result of substance abuse issues. Struggling to record the song "Cornucopia" after "sitting in the middle of the room, just doing drugs", Ward was nearly fired. "I hated the song, there were some patterns that were just... horrible," the drummer said. "I nailed it in the end, but the reaction I got was the cold shoulder from everybody. It was like 'Well, just go home, you're not being of any use right now.' I felt like I'd blown it, I was about to get fired". Butler thought that the end product "was very badly produced, as far as I was concerned. Our then-manager insisted on producing it, so he could claim production costs."
The album was originally titled Snowblind after the song of the same name, which deals with cocaine abuse. The record company changed the title at the last minute to Black Sabbath Vol. 4. Ward observed, "There was no Volume 1, 2 or 3, so it's a pretty stupid title really". Vol. 4 was released in September 1972 and, while critics were dismissive, it achieved gold status in less than a month, and was the band's fourth consecutive release to sell a million in the U.S. "Tomorrow's Dream" was released as a single – the band's first since "Paranoid" – but failed to chart.
Following an extensive tour of the U.S., in 1973 the band travelled again to Australia, followed by a tour for the first time to New Zealand, before moving onto mainland Europe. "The band were definitely in their heyday," recalled Ward, "in the sense that nobody had burnt out quite yet."
1973–1976: Sabbath Bloody Sabbath and Sabotage
Following the Volume 4 world tour, Black Sabbath returned to Los Angeles to begin work on their next release. Pleased with the Volume 4 album, the band sought to recreate the recording atmosphere, and returned to the Record Plant studio in Los Angeles. With new musical innovations of the era, the band were surprised to find that the room they had used previously at the Record Plant was replaced by a "giant synthesiser". The band rented a house in Bel Air and began writing in the summer of 1973, but in part because of substance issues and fatigue, they were unable to complete any songs. "Ideas weren't coming out the way they were on Volume 4 and we really got discontent" Iommi said. "Everybody was sitting there waiting for me to come up with something. I just couldn't think of anything. And if I didn't come up with anything, nobody would do anything."
After a month in Los Angeles with no results, the band opted to return to England. They rented Clearwell Castle in The Forest of Dean. "We rehearsed in the dungeons and it was really creepy but it had some atmosphere, it conjured up things, and stuff started coming out again." While working in the dungeon, Iommi stumbled onto the main riff of "Sabbath Bloody Sabbath", which set the tone for the new material. Recorded at Morgan Studios in London by Mike Butcher and building off the stylistic changes introduced on Volume 4, new songs incorporated synthesisers, strings, and complex arrangements. Yes keyboardist Rick Wakeman was brought in as a session player, appearing on "Sabbra Cadabra".
In November 1973, Black Sabbath began to receive positive reviews in the mainstream press after the release of Sabbath Bloody Sabbath, with Gordon Fletcher of Rolling Stone calling the album "an extraordinarily gripping affair", and "nothing less than a complete success." Later reviewers such as AllMusic's Eduardo Rivadavia cite the album as a "masterpiece, essential to any heavy metal collection", while also displaying "a newfound sense of finesse and maturity." The album marked the band's fifth consecutive platinum selling album in the U.S., reaching number four on the UK Albums Chart, and number eleven in the U.S.
The band began a world tour in January 1974, which culminated at the California Jam festival in Ontario, California, on 6 April 1974. Attracting over 200,000 fans, Black Sabbath appeared alongside popular 1970s rock and pop bands Deep Purple, Eagles, Emerson, Lake & Palmer, Rare Earth, Seals & Crofts, Black Oak Arkansas, and Earth, Wind & Fire. Portions of the show were telecast on ABC Television in the U.S., exposing the band to a wider American audience. In the same year, the band shifted management, signing with notorious English manager Don Arden. The move caused a contractual dispute with Black Sabbath's former management, and while on stage in the U.S., Osbourne was handed a subpoena that led to two years of litigation.
Black Sabbath began work on their sixth album in February 1975, again in England at Morgan Studios in Willesden, this time with a decisive vision to differ the sound from Sabbath, Bloody Sabbath. "We could've continued and gone on and on, getting more technical, using orchestras and everything else which we didn't particularly want to. We took a look at ourselves, and we wanted to do a rock album – Sabbath, Bloody Sabbath wasn't a rock album, really." Produced by Black Sabbath and Mike Butcher, Sabotage was released in July 1975. As with its precursor, the album initially saw favourable reviews, with Rolling Stone stating "Sabotage is not only Black Sabbath's best record since Paranoid, it might be their best ever", although later reviewers such as AllMusic noted that "the magical chemistry that made such albums as Paranoid and Volume 4 so special was beginning to disintegrate".
Sabotage reached the top 20 in both the U.S. and the United Kingdom, but was the band's first release not to achieve Platinum status in the U.S., only achieving Gold certification. Although the album's only single "Am I Going Insane (Radio)" failed to chart, Sabotage features fan favourites such as "Hole in the Sky", and "Symptom of the Universe". Black Sabbath toured in support of Sabotage with openers Kiss, but were forced to cut the tour short in November 1975, following a motorcycle accident in which Osbourne ruptured a muscle in his back. In December 1975, the band's record companies released a greatest hits album without input from the band, titled We Sold Our Soul for Rock 'n' Roll. The album charted throughout 1976, eventually selling two million copies in the U.S.
1976–1979: Technical Ecstasy, Never Say Die!, and Osbourne's departure
Black Sabbath began work for their next album at Criteria Studios in Miami, Florida, in June 1976. To expand their sound, the band added keyboard player Gerald Woodroffe, who also had appeared to a lesser extent on Sabotage. During the recording of Technical Ecstasy, Osbourne admits that he began losing interest in Black Sabbath and began to consider the possibility of working with other musicians. Recording of Technical Ecstasy was difficult; by the time the album was completed Osbourne was admitted to Stafford County Asylum in Britain. It was released on 25 September 1976 to mixed reviews, and (for the first time) later music critics gave the album less favourable retrospective reviews; two decades after its release AllMusic gave the album two stars, and noted that the band was "unravelling at an alarming rate". The album featured less of the doomy, ominous sound of previous efforts, and incorporated more synthesisers and uptempo rock songs. Technical Ecstasy failed to reach the top 50 in the U.S., and was the band's second consecutive release not to achieve platinum status, although it was later certified gold in 1997. The album included "Dirty Women", which remains a live staple, as well as Ward's first lead vocal on the song "It's Alright". Touring in support of Technical Ecstasy began in November 1976, with openers Boston and Ted Nugent in the U.S., and completed in Europe with AC/DC in April 1977.
In late 1977, while in rehearsal for their next album, and just days before the band was set to enter the studio, Osbourne abruptly quit the band. Iommi called vocalist Dave Walker, a longtime friend of the band, who had previously been a member of Fleetwood Mac and Savoy Brown, and informed him that Osbourne had left the band. Walker, who was at that time fronting a band called Mistress, flew to Birmingham from California in late 1977 to write material and rehearse with Black Sabbath. On 8 January 1978, Black Sabbath made their only live performance with Walker on vocals, playing an early version of the song "Junior's Eyes" on the BBC Television programme "Look! Hear!" Walker later recalled that while in Birmingham he had bumped into Osbourne in a pub and came to the conclusion that Osbourne was not fully committed to leaving Black Sabbath. "The last Sabbath albums were just very depressing for me", Osbourne said. "I was doing it for the sake of what we could get out of the record company, just to get fat on beer and put a record out." Walker has said that he wrote a lot of lyrics during his brief time in the band but none of them were ever used. If any recordings of this version of the band other than the "Look! Hear!" footage still exist, Walker says that he is not aware of them.
Osbourne initially set out to form a solo project featuring former Dirty Tricks members John Frazer-Binnie, Terry Horbury, and Andy Bierne. As the new band were in rehearsals in January 1978, Osbourne had a change of heart and rejoined Black Sabbath. "Three days before we were due to go into the studio, Ozzy wanted to come back to the band", Iommi explained. "He wouldn't sing any of the stuff we'd written with the other guy (Walker), so it made it very difficult. We went into the studio with basically no songs. We'd write in the morning so we could rehearse and record at night. It was so difficult, like a conveyor belt, because you couldn't get time to reflect on stuff. 'Is this right? Is this working properly?' It was very difficult for me to come up with the ideas and putting them together that quick."
The band spent five months at Sounds Interchange Studios in Toronto, Ontario, Canada, writing and recording what would become Never Say Die!. "It took quite a long time", Iommi said. "We were getting really drugged out, doing a lot of dope. We'd go down to the sessions, and have to pack up because we were too stoned, we'd have to stop. Nobody could get anything right, we were all over the place, everybody's playing a different thing. We'd go back and sleep it off, and try again the next day." The album was released in September 1978, reaching number twelve in the United Kingdom, and number 69 in the U.S. Press response was unfavourable and did not improve over time with Eduardo Rivadavia of AllMusic stating two decades after its release that the album's "unfocused songs perfectly reflected the band's tense personnel problems and drug abuse." The album featured the singles "Never Say Die" and "Hard Road", both of which cracked the top 40 in the United Kingdom. The band also made their second appearance on the BBC's Top of the Pops, performing "Never Say Die". It took nearly 20 years for the album to be certified Gold in the U.S.
Touring in support of Never Say Die! began in May 1978 with openers Van Halen. Reviewers called Black Sabbath's performance "tired and uninspired", a stark contrast to the "youthful" performance of Van Halen, who were touring the world for the first time. The band filmed a performance at the Hammersmith Odeon in June 1978, which was later released on DVD as Never Say Die. The final show of the tour, and Osbourne's last appearance with the band (until later reunions) was in Albuquerque, New Mexico on 11 December.
Following the tour, Black Sabbath returned to Los Angeles and again rented a house in Bel Air, where they spent nearly a year working on new material for the next album. The entire band were abusing both alcohol and other drugs, but Iommi says Osbourne "was on a totally different level altogether". The band would come up with new song ideas but Osbourne showed little interest and would refuse to sing them. Pressure from the record label and frustrations with Osbourne's lack of input coming to a head, Iommi made the decision to fire Osbourne in 1979. Iommi believed the only options available were to fire Osbourne or break the band up completely. "At that time, Ozzy had come to an end", Iommi said. "We were all doing a lot of drugs, a lot of coke, a lot of everything, and Ozzy was getting drunk so much at the time. We were supposed to be rehearsing and nothing was happening. It was like 'Rehearse today? No, we'll do it tomorrow.' It really got so bad that we didn't do anything. It just fizzled out." Drummer Ward, who was close with Osbourne, was chosen by Tony to break the news to the singer on 27 April 1979. "I hope I was professional, I might not have been, actually. When I'm drunk I am horrible, I am horrid", Ward said. "Alcohol was definitely one of the most damaging things to Black Sabbath. We were destined to destroy each other. The band were toxic, very toxic."
1979–1982: Dio joins, Heaven and Hell, and Mob Rules
Sharon Arden (later Sharon Osbourne), daughter of Black Sabbath manager Don Arden, suggested former Rainbow vocalist Ronnie James Dio to replace Ozzy Osbourne in 1979. Don Arden was at this point still trying to convince Osbourne to rejoin the band, as he viewed the original line-up as the most profitable. Dio officially joined in June, and the band began writing their next album. With a notably different vocal style from Osbourne's, Dio's addition to the band marked a change in Black Sabbath's sound. "They were totally different altogether", Iommi explains. "Not only voice-wise, but attitude-wise. Ozzy was a great showman, but when Dio came in, it was a different attitude, a different voice and a different musical approach, as far as vocals. Dio would sing across the riff, whereas Ozzy would follow the riff, like in "Iron Man". Ronnie came in and gave us another angle on writing."
Geezer Butler temporarily left the band in September 1979 for personal reasons. According to Dio, the band initially hired Craig Gruber (with whom Dio had previously played while in Elf) on bass to assist with writing the new album. Gruber was soon replaced by Geoff Nicholls of Quartz. The new line-up returned to Criteria Studios in November to begin recording work, with Butler returning to the band in January 1980, and Nicholls moving to keyboards. Produced by Martin Birch, Heaven and Hell was released on 25 April 1980, to critical acclaim. Over a decade after its release AllMusic said the album was "one of Sabbath's finest records, the band sounds reborn and re-energised throughout". Heaven and Hell peaked at number 9 in the United Kingdom, and number 28 in the U.S., the band's highest charting album since Sabotage. The album eventually sold a million copies in the U.S., and the band embarked on an extensive world tour, making their first live appearance with Dio in Germany on 17 April 1980.
Black Sabbath toured the U.S. throughout 1980 with Blue Öyster Cult on the "Black and Blue" tour, with a show at Nassau Coliseum in Uniondale, New York filmed and released theatrically in 1981 as Black and Blue. On 26 July 1980, the band played to 75,000 fans at a sold-out Los Angeles Memorial Coliseum with Journey, Cheap Trick, and Molly Hatchet. The next day, the band appeared at the 1980 Day on the Green at Oakland Coliseum. While on tour, Black Sabbath's former label in England issued a live album culled from a seven-year-old performance, titled Live at Last without any input from the band. The album reached number five on the UK chart, and saw the re-release of "Paranoid" as a single, which reached the top 20.
On 18 August 1980, after a show in Minneapolis, Ward quit the band. "It was intolerable for me to get on the stage without Ozzy. And I drank 24 hours a day, my alcoholism accelerated". Geezer Butler stated that after Ward's final show, the drummer came in drunk, stating that "He might as well be a Martian". Ward then got angry, packed his things and got on a bus to leave. Following Ward's sudden departure, the group hired drummer Vinny Appice. Further trouble for the band came during their 9 October 1980 concert at the Milwaukee Arena, which degenerated into a riot causing $10,000 in damages to the arena and resulted in 160 arrests. According to the Associated Press, "the crowd of mostly adolescent males first became rowdy in a performance by the Blue Oyster Cult" and then grew restless while waiting an hour for Black Sabbath to begin playing. A member of the audience threw a beer bottle that struck bassist Butler and effectively ended the show. "The band then abruptly halted its performance and began leaving" as the crowd rioted.
The band completed the Heaven and Hell world tour in February 1981, and returned to the studio to begin work on their next album. Black Sabbath's second studio album produced by Martin Birch and featuring Ronnie James Dio as vocalist Mob Rules was released in October 1981, to be well received by fans, but less so by the critics. Rolling Stone reviewer J. D. Considine gave the album one star, claiming "Mob Rules finds the band as dull-witted and flatulent as ever". Like most of the band's earlier work, time helped to improve the opinions of the music press, a decade after its release, AllMusic's Eduardo Rivadavia called Mob Rules "a magnificent record". The album was certified gold, and reached the top 20 on the UK chart. The album's title track "The Mob Rules", which was recorded at John Lennon's old house in England, also featured in the 1981 animated film Heavy Metal, although the film version is an alternate take, and differs from the album version.
Unhappy with the quality of 1980's Live at Last, the band recorded another live album—titled Live Evil—during the Mob Rules world tour, across the United States in Dallas, San Antonio, and Seattle, in 1982. During the mixing process for the album, Iommi and Butler had a falling out with Dio. Misinformed by their then-current mixing engineer, Iommi and Butler accused Dio of sneaking into the studio at night to raise the volume of his vocals.<ref>{{cite web|last=Marszalek|first=Julian|title=Black Sabbath's Tony Iommi Recalls the 'Heaven and Hell Era|url=http://www.spinner.com/2010/04/02/black-sabbath-tony-iommi-interview/|archive-url=https://web.archive.org/web/20120320015547/http://www.spinner.com/2010/04/02/black-sabbath-tony-iommi-interview/|url-status=dead|archive-date=20 March 2012|publisher=spinner.com|access-date=26 January 2019}}</ref> In addition, Dio was not satisfied with the pictures of him in the artwork. Butler also accused Dio and Appice of working on a solo album during the album's mixing without telling the other members of Black Sabbath. "Ronnie wanted more say in things," Iommi said. "And Geezer would get upset with him and that is where the rot set in. Live Evil is when it all fell apart. Ronnie wanted to do more of his own thing, and the engineer we were using at the time in the studio didn't know what to do, because Ronnie was telling him one thing and we were telling him another. At the end of the day, we just said, 'That's it, the band is over'". "When it comes time for the vocal, nobody tells me what to do. Nobody! Because they're not as good as me, so I do what I want to do," Dio later said. "I refuse to listen to Live Evil, because there are too many problems. If you look at the credits, the vocals and drums are listed off to the side. Open up the album and see how many pictures there are of Tony, and how many there are of me and Vinny".
Ronnie James Dio left Black Sabbath in November 1982 to start his own band, and took drummer Vinny Appice with him. Live Evil was released in January 1983, but was overshadowed by Ozzy Osbourne's platinum selling album Speak of the Devil.
1982–1984: Gillan as singer and Born Again
The remaining original members, Iommi and Butler, began auditioning singers for the band's next release. Deep Purple and Whitesnake's David Coverdale, Samson's Nicky Moore and Lone Star's John Sloman were all considered and Iommi states in his autobiography that Michael Bolton auditioned. The band settled on former Deep Purple vocalist Ian Gillan to replace Dio in December 1982. The project was initially not to be called Black Sabbath, but pressure from the record label forced the group to retain the name. The band entered The Manor Studios in Shipton-on-Cherwell, Oxfordshire, in June 1983 with a returned and newly sober Bill Ward on drums. "That was the very first album that I ever did clean and sober," Ward recalled. "I only got drunk after I finished all my work on the album – which wasn't a very good idea... Sixty to seventy per cent of my energy was taken up on learning how to get through the day without taking a drink and learning how to do things without drinking, and thirty per cent of me was involved in the album."Born Again (7 August 1983) was panned on release by critics. Despite this negative reception, it reached number four in the UK, and number 39 in the U.S. Even three decades after its release, AllMusic's Eduardo Rivadavia called the album "dreadful", noting that "Gillan's bluesy style and humorous lyrics were completely incompatible with the lords of doom and gloom".
Unable to tour because of the pressures of the road, Ward quit the band. "I fell apart with the idea of touring," he later explained. "I got so much fear behind touring, I didn't talk about the fear, I drank behind the fear instead and that was a big mistake." He was replaced by former Electric Light Orchestra drummer Bev Bevan for the Born Again '83–'84 world tour, (often unofficially referred to as the 'Feighn Death Sabbath '83–'84' World Tour) which began in Europe with Diamond Head, and later in the U.S. with Quiet Riot and Night Ranger. The band headlined the 1983 Reading Festival in England, adding Deep Purple's "Smoke on the Water" to their encore.
The tour in support of Born Again included a giant set of the Stonehenge monument. In a move later parodied in the mockumentary This Is Spinal Tap, the band made a mistake in ordering the set piece. Butler explained:
1984–1987: Hiatus, Hughes as singer, Seventh Star, and Gillen as singer
Following the completion of the Born Again tour in March 1984, vocalist Ian Gillan left Black Sabbath to re-join Deep Purple, which was reforming after a long hiatus. Bevan left at the same time, and Gillan remarked that he and Bevan were made to feel like "hired help" by Iommi. The band then recruited an unknown Los Angeles vocalist named David Donato and Ward once again rejoined the band. The new line-up wrote and rehearsed throughout 1984, and eventually recorded a demo with producer Bob Ezrin in October. Unhappy with the results, the band parted ways with Donato shortly after. Disillusioned with the band's revolving line-up, Ward left shortly after stating "This isn't Black Sabbath". Butler would quit Sabbath next in November 1984 to form a solo band. "When Ian Gillan took over that was the end of it for me," he said. "I thought it was just a joke and I just totally left. When we got together with Gillan it was not supposed to be a Black Sabbath album. After we had done the album we gave it to Warner Bros. and they said they were going to put it out as a Black Sabbath album and we didn't have a leg to stand on. I got really disillusioned with it and Gillan was really pissed off about it. That lasted one album and one tour and then that was it."
One vocalist whose status is disputed, both inside and outside Sabbath, is Christian evangelist and former Joshua frontman Jeff Fenholt. Fenholt insists he was a singer in Sabbath between January and May 1985. Iommi has never confirmed this. Fenholt gives a detailed account in Garry Sharpe-Young's book Sabbath Bloody Sabbath: The Battle for Black Sabbath.
Following both Ward's and Butler's exits, sole remaining original member Iommi put Sabbath on hiatus, and began work on a solo album with long-time Sabbath keyboardist Geoff Nicholls. While working on new material, the original Sabbath line-up agreed to a spot at Bob Geldof's Live Aid, performing at the Philadelphia show on 13 July 1985. This event – which also featured reunions of The Who and Led Zeppelin – marked the first time the original line-up had appeared on stage since 1978. "We were all drunk when we did Live Aid," recalled Geezer Butler, "but we'd all got drunk separately."
Returning to his solo work, Iommi enlisted bassist Dave Spitz (ex-Great White), drummer Eric Singer and initially intended to use multiple singers, including Rob Halford of Judas Priest, former Deep Purple and Trapeze vocalist Glenn Hughes, and former Sabbath vocalist Ronnie James Dio. This plan didn't work as he forecasted. "We were going to use different vocalists on the album, guest vocalists, but it was so difficult getting it together and getting releases from their record companies. Glenn Hughes came along to sing on one track and we decided to use him on the whole album."
The band spent the remainder of the year in the studio, recording what would become Seventh Star (1986). Warner Bros. refused to release the album as a Tony Iommi solo release, instead insisting on using the name Black Sabbath. Pressured by the band's manager, Don Arden, the two compromised and released the album as "Black Sabbath featuring Tony Iommi" in January 1986. "It opened up a whole can of worms," Iommi explained. "If we could have done it as a solo album, it would have been accepted a lot more." Seventh Star sounded little like a Sabbath album, incorporating instead elements popularised by the 1980s Sunset Strip hard rock scene. It was panned by the critics of the era, although later reviewers such as AllMusic gave album verdicts, calling the album "often misunderstood and underrated".
The new line-up rehearsed for six weeks preparing for a full world tour, although the band were eventually forced to use the Sabbath name. "I was into the 'Tony Iommi project', but I wasn't into the Black Sabbath moniker," Hughes said. "The idea of being in Black Sabbath didn't appeal to me whatsoever. Glenn Hughes singing in Black Sabbath is like James Brown singing in Metallica. It wasn't gonna work." Just four days before the start of the tour, Hughes got into a bar fight with the band's production manager John Downing which splintered the singer's orbital bone. The injury interfered with Hughes' ability to sing, and the band brought in vocalist Ray Gillen to continue the tour with W.A.S.P. and Anthrax, although nearly half of the U.S. dates would be cancelled because of poor ticket sales.
Black Sabbath began work on new material in October 1986 at Air Studios in Montserrat with producer Jeff Glixman. The recording was fraught with problems from the beginning, as Glixman left after the initial sessions to be replaced by producer Vic Coppersmith-Heaven. Bassist Dave Spitz quit over "personal issues", and former Rainbow and Ozzy Osbourne bassist Bob Daisley was brought in. Daisley re-recorded all of the bass tracks, and wrote the album's lyrics, but before the album was complete, he left to join Gary Moore's backing band, taking drummer Eric Singer with him. After problems with second producer Coppersmith-Heaven, the band returned to Morgan Studios in England in January 1987 to work with new producer Chris Tsangarides. While working in the United Kingdom, new vocalist Ray Gillen abruptly left Black Sabbath to form Blue Murder with guitarist John Sykes (ex-Tygers of Pan Tang, Thin Lizzy, Whitesnake).
1987–1990: Martin joins, The Eternal Idol, Headless Cross, and Tyr
The band enlisted heavy metal vocalist Tony Martin to re-record Gillen's tracks, and former Electric Light Orchestra drummer Bev Bevan to complete a few percussion overdubs. Before the release of the new album Black Sabbath accepted an offer to play six shows at Sun City, South Africa during the apartheid era. The band drew criticism from activists and artists involved with Artists United Against Apartheid, who had been boycotting South Africa since 1985. Drummer Bev Bevan refused to play the shows, and was replaced by Terry Chimes, formerly of the Clash.
After nearly a year in production, The Eternal Idol was released on 8 December 1987 and ignored by contemporary reviewers. On-line internet era reviews were mixed. AllMusic said that "Martin's powerful voice added new fire" to the band, and the album contained "some of Iommi's heaviest riffs in years." Blender gave the album two stars, claiming the album was "Black Sabbath in name only". The album would stall at No. 66 in the United Kingdom, while peaking at 168 in the U.S. The band toured in support of Eternal Idol in Germany, Italy and for the first time, Greece. In part due to a backlash from promoters over the South Africa incident, other European shows were cancelled. Bassist Dave Spitz left the band shortly before the tour, and was replaced by Jo Burt, formerly of Virginia Wolf.
Following the poor commercial performance of The Eternal Idol, Black Sabbath were dropped by both Vertigo Records and Warner Bros. Records, and signed with I.R.S. Records. The band took time off in 1988, returning in August to begin work on their next album. As a result of the recording troubles with Eternal Idol, Tony Iommi opted to produce the band's next album himself. "It was a completely new start", Iommi said. "I had to rethink the whole thing, and decided that we needed to build up some credibility again". Iommi enlisted former Rainbow drummer Cozy Powell, long-time keyboardist Nicholls and session bassist Laurence Cottle, and rented a "very cheap studio in England".
Black Sabbath released Headless Cross in April 1989, and it was also ignored by contemporary reviewers, although AllMusic contributor Eduardo Rivadavia gave the album four stars and called it "the finest non-Ozzy or Dio Black Sabbath album". Anchored by the number 62 charting single "Headless Cross", the album reached number 31 on the UK chart, and number 115 in the U.S. Queen guitarist Brian May, a good friend of Iommi's, played a guest solo on the song "When Death Calls". Following the album's release the band added touring bassist Neil Murray, formerly of Colosseum II, National Health, Whitesnake, Gary Moore's backing band, and Vow Wow.
The unsuccessful Headless Cross U.S. tour began in May 1989 with openers Kingdom Come and Silent Rage, but because of poor ticket sales, the tour was cancelled after just eight shows. The European leg of the tour began in September, where the band were enjoying chart success. After a string of Japanese shows the band embarked on a 23 date Russian tour with Girlschool. Black Sabbath was one of the first bands to tour Russia, after Mikhail Gorbachev opened the country to western acts for the first time in 1989.
The band returned to the studio in February 1990 to record Tyr, the follow-up to Headless Cross. While not technically a concept album, some of the album's lyrical themes are loosely based on Norse mythology. Tyr was released on 6 August 1990, reaching number 24 on the UK albums chart, but was the first Black Sabbath release not to break the Billboard 200 in the U.S. The album would receive mixed internet-era reviews, with AllMusic noting that the band "mix myth with metal in a crushing display of musical synthesis", while Blender gave the album just one star, claiming that "Iommi continues to besmirch the Sabbath name with this unremarkable collection". The band toured in support of Tyr with Circus of Power in Europe, but the final seven United Kingdom dates were cancelled because of poor ticket sales. For the first time in their career, the band's touring cycle did not include U.S. dates.
1990–1992: Dio rejoins and Dehumanizer
While on his Lock Up the Wolves U.S. tour in August 1990, former Sabbath vocalist Ronnie James Dio was joined onstage at the Roy Wilkins Auditorium by Geezer Butler to perform "Neon Knights". Following the show, the two expressed interest in rejoining Sabbath. Butler convinced Iommi, who in turn broke up the current lineup, dismissing vocalist Tony Martin and bassist Neil Murray. "I do regret that in a lot of ways," Iommi said. "We were at a good point then. We decided to [reunite with Dio] and I don't even know why, really. There's the financial aspect, but that wasn't it. I seemed to think maybe we could recapture something we had."
Dio and Butler joined Iommi and Cozy Powell in autumn 1990 to begin the next Sabbath release. While rehearsing in November, Powell suffered a broken hip when his horse died and fell on the drummer's legs. Unable to complete the album, Powell was replaced by former drummer Vinny Appice, reuniting the Mob Rules lineup, and the band entered the studio with producer Reinhold Mack. The year-long recording was plagued with problems, primarily stemming from writing tension between Iommi and Dio. Songs were rewritten multiple times. "It was just hard work," Iommi said. "We took too long on it, that album cost us a million dollars, which is bloody ridiculous." Dio recalled the album as difficult, but worth the effort: "It was something we had to really wring out of ourselves, but I think that's why it works. Sometimes you need that kind of tension, or else you end up making the Christmas album".
The resulting Dehumanizer was released on 22 June 1992. In the U.S., the album was released on 30 June 1992 by Reprise Records, as Dio and his namesake band were still under contract to the label at the time. While the album received mixed , it was the band's biggest commercial success in a decade. Anchored by the top 40 rock radio single "TV Crimes", the album peaked at number 44 on the Billboard 200. The album also featured "Time Machine", a version of which had been recorded for the 1992 film Wayne's World. Additionally, the perception among fans of a return of some semblance of the "real" Sabbath provided the band with much needed momentum.
Sabbath began touring in support of Dehumanizer in July 1992 with Testament, Danzig, Prong, and Exodus. While on tour, former vocalist Ozzy Osbourne announced his first retirement, and invited Sabbath to open for his solo band at the final two shows of his No More Tours tour in Costa Mesa, California. The band agreed, aside from Dio, who told Iommi, "I'm not doing that. I'm not supporting a clown." Dio spoke of the situation years later:
Dio quit Sabbath following a show in Oakland, California on 13 November 1992, one night before the band were set to appear at Osbourne's retirement show. Judas Priest vocalist Rob Halford stepped in at the last minute, performing two nights with the band. Iommi and Butler joined Osbourne and former drummer Ward on stage for the first time since 1985's Live Aid concert, performing a brief set of Sabbath songs. This set the stage for a longer-term reunion of the original lineup, though that plan proved short-lived. "Ozzy, Geezer, Tony and Bill announced the reunion of Black Sabbath – again," remarked Dio. "And I thought that it was a great idea. But I guess Ozzy didn't think it was such a great idea… I'm never surprised when it comes to whatever happens with them. Never at all. They are very predictable. They don't talk."
1992–1997: Martin rejoins, Cross Purposes, and Forbidden
Drummer Vinny Appice left the band following the reunion show to rejoin Ronnie James Dio's solo band, later appearing on Dio's Strange Highways and Angry Machines. Iommi and Butler enlisted former Rainbow drummer Bobby Rondinelli, and reinstated former vocalist Tony Martin. The band returned to the studio to work on new material, although the project was not originally intended to be released under the Black Sabbath name. As Geezer Butler explains:
Under pressure from their record label, the band released their seventeenth studio album, Cross Purposes, on 8 February 1994, under the Black Sabbath name. The album received mixed reviews, with Blender giving the album two stars, calling Soundgarden's 1994 album Superunknown "a far better Sabbath album than this by-the-numbers potboiler". AllMusic's Bradley Torreano called Cross Purposes "the first album since Born Again that actually sounds like a real Sabbath record". The album just missed the Top 40 in the UK reaching number 41, and also reached 122 on the Billboard 200 in the U.S. Cross Purposes contained the song "Evil Eye", which was co-written by Van Halen guitarist Eddie Van Halen, although uncredited because of record label restrictions. Touring in support of Cross Purposes began in February with Morbid Angel and Motörhead in the U.S. The band filmed a live performance at the Hammersmith Apollo on 13 April 1994, which was released on VHS accompanied by a CD, titled Cross Purposes Live. After the European tour with Cathedral and Godspeed in June 1994, drummer Bobby Rondinelli quit the band and was replaced by original Black Sabbath drummer Ward for five shows in South America.
Following the touring cycle for Cross Purposes, bassist Geezer Butler quit the band for the second time. "I finally got totally disillusioned with the last Sabbath album, and I much preferred the stuff I was writing to the stuff Sabbath were doing". Butler formed a solo project called GZR, and released Plastic Planet in 1995. The album contained the song "Giving Up the Ghost", which was critical of Tony Iommi for carrying on with the Black Sabbath name, with the lyrics: You plagiarised and parodied / the magic of our meaning / a legend in your own mind / left all your friends behind / you can't admit that you're wrong / the spirit is dead and gone ("I heard it's something about me..." said Iommi. "I had the album given to me a while back. I played it once, then somebody else had it, so I haven't really paid any attention to the lyrics... It's nice to see him doing his own thing – getting things off his chest. I don't want to get into a rift with Geezer. He's still a friend."
Following Butler's departure, newly returned drummer Ward once again left the band. Iommi reinstated former members Neil Murray on bass and Cozy Powell on drums, effectively reuniting the 1990 Tyr line-up. The band enlisted Body Count guitarist Ernie C to produce the new album, which was recorded in London in autumn of 1994. The album featured a guest vocal on "Illusion of Power" by Body Count vocalist Ice-T. The resulting Forbidden was released on 8 June 1995, but failed to chart in the U.S. The album was widely panned by critics; AllMusic's Bradley Torreano said "with boring songs, awful production, and uninspired performances, this is easily avoidable for all but the most enthusiastic fan"; while Blender magazine called Forbidden "an embarrassment... the band's worst album".
Black Sabbath embarked on a world tour in July 1995 with openers Motörhead and Tiamat, but two months into the tour, drummer Cozy Powell left the band, citing health issues, and was replaced by former drummer Bobby Rondinelli. "The members I had in the last lineup – Bobby Rondinelli, Neil Murray – they're great, great characters..." Iommi told Sabbath fanzine Southern Cross. "That, for me, was an ideal lineup. I wasn't sure vocally what we should do, but Neil Murray and Bobby Rondinelli I really got on well with."
After completing Asian dates in December 1995, Tony Iommi put the band on hiatus, and began work on a solo album with former Black Sabbath vocalist Glenn Hughes, and former Judas Priest drummer Dave Holland. The album was not officially released following its completion, although a widely traded bootleg called Eighth Star surfaced soon after. The album was officially released in 2004 as The 1996 DEP Sessions, with Holland's drums re-recorded by session drummer Jimmy Copley.
In 1997, Tony Iommi disbanded the current line-up to officially reunite with Ozzy Osbourne and the original Black Sabbath line-up. Vocalist Tony Martin claimed that an original line-up reunion had been in the works since the band's brief reunion at Ozzy Osbourne's 1992 Costa Mesa show, and that the band released subsequent albums to fulfill their record contract with I.R.S. Records. Martin later recalled Forbidden (1995) as a "filler album that got the band out of the label deal, rid of the singer, and into the reunion. However I wasn't privy to that information at the time". I.R.S. Records released a compilation album in 1996 to fulfill the band's contract, titled The Sabbath Stones, which featured songs from Born Again (1983) to Forbidden (1995).
1997–2006: Osbourne rejoins and Reunion
In the summer of 1997, Iommi, Butler and Osbourne reunited to coheadline the Ozzfest tour alongside Osbourne's solo band. The line-up featured Osbourne's drummer Mike Bordin filling in for Ward. "It started off with me going off to join Ozzy for a couple of numbers," explained Iommi, "and then it got into Sabbath doing a short set, involving Geezer. And then it grew as it went on… We were concerned in case Bill couldn't make it – couldn't do it – because it was a lot of dates, and important dates… The only rehearsal that we had to do was for the drummer. But I think if Bill had come in, it would have took a lot more time. We would have had to focus a lot more on him."
In December 1997, the group was joined by Ward, marking the first reunion of the original quartet since Osbourne's 1992 "retirement show". This lineup recorded two shows at the Birmingham NEC, released as the double album Reunion on 20 October 1998. The album reached number eleven on the Billboard 200, went platinum in the U.S. and spawned the single "Iron Man", which won Sabbath their first Grammy Award in 2000 for Best Metal Performance, 30 years after the song was originally released. Reunion featured two new studio tracks, "Psycho Man" and "Selling My Soul", both of which cracked the top 20 of the Billboard Mainstream Rock Tracks chart.
Shortly before a European tour in the summer of 1998, Ward suffered a heart attack and was temporarily replaced by former drummer Vinny Appice. Ward returned for a U.S. tour with openers Pantera, which began in January 1999 and continued through the summer, headlining the annual Ozzfest tour. Following these appearances, the band was put on hiatus while members worked on solo material. Iommi released his first official solo album, Iommi, in 2000, while Osbourne continued work on Down to Earth (2001).
Sabbath returned to the studio to work on new material with all four original members and producer Rick Rubin in the spring of 2001, but the sessions were halted when Osbourne was called away to finish tracks for his solo album in the summer. "It just came to an end…" Iommi said. "It's a shame because [the songs] were really Iommi commented on the difficulty getting all the members together to work:
In March 2002, Osbourne's Emmy-winning reality show The Osbournes debuted on MTV, and quickly became a worldwide hit. The show introduced Osbourne to a broader audience and to capitalise, the band's back catalogue label, Sanctuary Records released a double live album Past Lives (2002), which featured concert material recorded in the 1970s, including the Live at Last (1980) album. The band remained on hiatus until the summer of 2004 when they returned to headline Ozzfest 2004 and 2005. In November 2005, Black Sabbath were inducted into the UK Music Hall of Fame, and in March 2006, after eleven years of eligibility—Osbourne famously refused the Hall's "meaningless" initial nomination in 1999—the band were inducted into the U.S. Rock and Roll Hall of Fame. At the awards ceremony Metallica played two Sabbath songs, "Hole in the Sky" and "Iron Man" in tribute.
2006–2010: The Dio Years and Heaven & Hell
While Ozzy Osbourne was working on new solo album material in 2006, Rhino Records released Black Sabbath: The Dio Years, a compilation of songs culled from the four Black Sabbath releases featuring Ronnie James Dio. For the release, Iommi, Butler, Dio, and Appice reunited to write and record three new songs as Black Sabbath. The Dio Years was released on 3 April 2007, reaching number 54 on the Billboard 200, while the single "The Devil Cried" reached number 37 on the Mainstream Rock Tracks chart. Pleased with the results, Iommi and Dio decided to reunite the Dio era line-up for a world tour. While the line-up of Osbourne, Butler, Iommi, and Ward was still officially called Black Sabbath, the new line-up opted to call themselves Heaven & Hell, after the album of the same title, to avoid confusion. When asked about the name of the group, Iommi stated "it really is Black Sabbath, whatever we do... so everyone knows what they're getting [and] so people won't expect to hear 'Iron Man' and all those songs. We've done them for so many years, it's nice to do just all the stuff we did with Ronnie again."
Ward was initially set to participate, but dropped out before the tour began due to musical differences with "a couple of the band members". He was replaced by former drummer Vinny Appice, effectively reuniting the line-up that had featured on the Mob Rules (1981) and Dehumanizer (1992) albums.
Heaven & Hell toured the U.S. with openers Megadeth and Machine Head, and recorded a live album and DVD in New York on 30 March 2007, titled Live from Radio City Music Hall. In November 2007, Dio confirmed that the band had plans to record a new studio album, which was recorded in the following year. In April 2008 the band announced the upcoming release of a new box set and their participation in the Metal Masters Tour, alongside Judas Priest, Motörhead and Testament. The box set, The Rules of Hell, featuring remastered versions of all the Dio fronted Black Sabbath albums, was supported by the Metal Masters Tour. In 2009, the band announced the title of their debut studio album, The Devil You Know, released on 28 April.
On 26 May 2009, Osbourne filed suit in a federal court in New York against Iommi alleging that he illegally claimed the band name. Iommi noted that he has been the only constant band member for its full 41-year career and that his bandmates relinquished their rights to the name in the 1980s, therefore claiming more rights to the name of the band. Although in the suit, Osbourne was seeking 50% ownership of the trademark, he said that he hoped the proceedings would lead to equal ownership among the four original members.
In March 2010, Black Sabbath announced that along with Metallica they would be releasing a limited edition single together to celebrate Record Store Day. It was released on 17 April 2010. Ronnie James Dio died on 16 May 2010 from stomach cancer. In June 2010, the legal battle between Ozzy Osbourne and Tony Iommi over the trademarking of the Black Sabbath name ended, but the terms of the settlement have not been disclosed.
2010–2014: Second Osbourne reunion and 13
In a January 2010 interview while promoting his biography I Am Ozzy, Osbourne stated that although he would not rule it out, he was doubtful there would be a reunion with all four original members of the band. Osbourne stated: "I'm not gonna say I've written it out forever, but right now I don't think there's any chance. But who knows what the future holds for me? If it's my destiny, fine." In July, Butler said that there would be no reunion in 2011, as Osbourne was already committed to touring with his solo band. However, by that August they had already met up to rehearse together, and continued to do so through the autumn.
On 11 November 2011, Iommi, Butler, Osbourne, and Ward announced that they were reuniting to record a new album with a full tour in support beginning in 2012. Guitarist Iommi was diagnosed with lymphoma on 9 January 2012, which forced the band to cancel all but two shows (Download Festival, and Lollapalooza Festival) of a previously booked European tour. It was later announced that an intimate show would be played in their hometown Birmingham. It was the first concert since the reunion and the only indoors concerts that year. In February 2012, drummer Ward announced that he would not participate further in the band's reunion until he was offered a "signable contract".
On 21 May 2012, at the O2 Academy in Birmingham, Black Sabbath played their first concert since 2005, with Tommy Clufetos playing the drums. In June, they performed at the Download Festival at the Donington Park motorsports circuit in Leicestershire, England, followed by the last concert of the short tour at Lollapalooza Festival in Chicago. Later that month, the band started recording an album.
On 13 January 2013, the band announced that the album would be released in June under the title 13. Brad Wilk of Rage Against the Machine was chosen as the drummer, and Rick Rubin was chosen as the producer. Mixing of the album commenced in February. On 12 April 2013, the band released the album's track listing. The standard version of the album features eight new tracks, and the deluxe version features three bonus tracks.
The band's first single from 13, "God Is Dead?", was released on 19 April 2013. On 20 April 2013, Black Sabbath commenced their first Australia/New Zealand tour in 40 years followed by a North American Tour in Summer 2013. The second single of the album, "End of the Beginning", debuted on 15 May in a CSI: Crime Scene Investigation episode, where all three members appeared. In June 2013, 13 topped both the UK Albums Chart and the U.S. Billboard 200, becoming their first album to reach number one on the latter chart. In 2014, Black Sabbath received their first Grammy Award since 2000 with "God Is Dead?" winning Best Metal Performance.
In July 2013, Black Sabbath embarked on a North American Tour (for the first time since July 2001), followed by a Latin American tour in October 2013. In November 2013, the band started their European tour which lasted until December 2013. In March and April 2014, they made 12 stops in North America (mostly in Canada) as the second leg of their North American Tour before embarking in June 2014 on the second leg of their European tour, which ended with a concert at London's Hyde Park.
2014–2017: Cancelled twentieth album, The End, and disbandment
On 29 September 2014, Osbourne told Metal Hammer that Black Sabbath would begin work on their twentieth studio album in early 2015 with producer Rick Rubin, followed by a final tour in 2016. In an April 2015 interview, however, Osbourne said that these plans "could change", and added, "We all live in different countries and some of them want to work and some of them don't want to, I believe. But we are going to do another tour together."
On 3 September 2015, it was announced that Black Sabbath would embark on their final tour, titled The End, from January 2016 to February 2017. Numerous dates and locations across the U.S., Canada, Europe, Australia and New Zealand were announced. The final shows of The End tour took place at the Genting Arena in their home city of Birmingham, England on 2 and 4 February 2017. On 26 October 2015, it was announced the band consisting of Osbourne, Iommi and Butler would be returning to the Download Festival on 11 June 2016. Despite earlier reports that they would enter the studio before their farewell tour, Osbourne stated that there would not be another Black Sabbath studio album. However, an 8-track CD entitled The End was sold at dates on the tour. Along with some live recordings, the CD includes four unused tracks from the 13 sessions.
On 4 March 2016, Iommi discussed future re-releases of the Tony Martin-era catalogue: "We've held back on the reissues of those albums because of the current Sabbath thing with Ozzy Osbourne, but they will certainly be happening... I'd like to do a couple of new tracks for those releases with Tony Martin... I'll also be looking at working on Cross Purposes and Forbidden." Martin had suggested that this could coincide with the 30th anniversary of The Eternal Idol, in 2017. In an interview that August, Martin added "[Iommi] still has his cancer issues of course and that may well stop it all from happening but if he wants to do something I am ready." On 10 August 2016, Iommi revealed that his cancer was in remission.
Asked in November 2016 about his plans after Black Sabbath's final tour, Iommi replied, "I'll be doing some writing. Maybe I'll be doing something with the guys, maybe in the studio, but no touring." The band played their final concert on 4 February 2017 in Birmingham. The final song was streamed live on the band's Facebook page and fireworks went off as the band took their final bow. The band's final tour was not an easy one, as longstanding tensions between Osbourne and Iommi returned to the surface. Iommi stated that he would not rule out the possibility of one-off shows, "I wouldn't write that off, if one day that came about. That's possible. Or even doing an album, 'cause then, again, you're in one place. But I don't know if that would happen." In an April 2017 interview, Butler revealed that Black Sabbath considered making a blues album as the follow-up to 13, but added that, "the tour got in the way."
On 7 March 2017, Black Sabbath announced their disbandment through posts made on their official social media accounts.
2017–present: Aftermath
In a June 2018 interview with ITV News, Osbourne expressed interest in reuniting with Black Sabbath for a performance at the 2022 Commonwealth Games which is due to be held in their home city Birmingham. Iommi said that performing at the event as Black Sabbath would be "a great thing to do to help represent Birmingham. I'm up for it. Let's see what happens." He also did not rule out the possibility for the band to reform only for a one-off performance rather than a full-length tour.
In September 2020, Osbourne stated in an interview that he was no longer interested in a reunion: "Not for me. It's done. The only thing I do regret is not doing the last farewell show in Birmingham with Bill Ward. I felt really bad about that. It would have been so nice. I don't know what the circumstances behind it were, but it would have been nice. I've talked to Tony a few times, but I don't have any of the slightest interest in doing another gig. Maybe Tony's getting bored now." Butler also ruled out the possibility of any future Black Sabbath performances in an interview with Eonmusic on 10 November 2020, stating that the band is over: "There will definitely be no more Sabbath. It's done." Iommi however, pondered the possibility of another reunion tour in an interview with The Mercury News, stating that he "would like to play with the guys again" and that he misses the audiences and stage. Bill Ward stated in an interview with Eddie Trunk that he no longer has the ability or chops to perform with Black Sabbath in concert, but expressed that he would love to make another album with Osbourne, Butler and Iommi.
Despite ruling out the possibility of another Black Sabbath reunion, Osbourne revealed in an episode of Ozzy Speaks on Ozzy's Boneyard that he is working with Iommi, who will appear as one of the guests for his upcoming thirteenth solo album. In an October 2021 interview with the Metro, Ward revealed that he has kept "in contact" with his former bandmates and stated that he is "very open-minded" to the possibility of recording another Black Sabbath album: "I haven't spoken to the guys about it, but I have talked to a couple of people in management about the possibility of making a recording."
On 30 September 2020, Black Sabbath announced a new Dr. Martens shoe collection. The partnership with the British footwear company celebrated the 50th anniversaries of the band's Black Sabbath and Paranoid albums, with the boots depicting artwork from the former. On 13 January 2021, the band announced that they would reissue both Heaven & Hell and Mob Rules as expanded deluxe editions on 5 March 2021, with unreleased material included.
Musical style
Black Sabbath were a heavy metal band, whose music has also been described as psychedelic rock, and acid rock. The band have also been cited as a key influence on genres including stoner rock, grunge, doom metal, and sludge metal. Early on, Black Sabbath were influenced by Cream, The Beatles, Fleetwood Mac, Jimi Hendrix, John Mayall & the Bluesbreakers, Blue Cheer, Led Zeppelin, and Jethro Tull.
Although Black Sabbath went through many line-ups and stylistic changes, their core sound focuses on ominous lyrics and doomy music, often making use of the musical tritone, also called the "devil's interval". While their Ozzy-era albums such as Sabbath Bloody Sabbath (1973) had slight compositional similarities to the progressive rock genre that was growing in popularity at the time, standing in stark contrast to popular music of the early 1970s, Black Sabbath's dark sound was dismissed by rock critics of the era. Much like many of their early heavy metal contemporaries, the band received virtually no airplay on rock radio.
As the band's primary songwriter, Tony Iommi wrote the majority of Black Sabbath's music, while Osbourne would write vocal melodies, and bassist Geezer Butler would write lyrics. The process was sometimes frustrating for Iommi, who often felt pressured to come up with new material: "If I didn't come up with anything, nobody would do anything." On Iommi's influence, Osbourne later said:
Beginning with their third album, Master of Reality (1971), Black Sabbath began to feature tuned-down guitars. In 1965, before forming Black Sabbath, guitarist Tony Iommi suffered an accident while working in a sheet metal factory, losing the tips of two fingers on his right hand. Iommi almost gave up music, but was urged by the factory manager to listen to Django Reinhardt, a jazz guitarist who lost the use of two fingers in a fire. Inspired by Reinhardt, Iommi created two thimbles made of plastic and leather to cap off his missing fingertips. The guitarist began using lighter strings, and detuning his guitar, to better grip the strings with his prosthesis. Early in the band's history Iommi experimented with different dropped tunings, including C tuning, or 3 semitones down, before settling on E/D tuning, or a half-step down from standard tuning.
Legacy
Black Sabbath has sold over 70 million records worldwide, including a RIAA-certified 15 million in the U.S. They are one of the most influential heavy metal bands of all time. The band helped to create the genre with ground-breaking releases such as Paranoid (1970), an album that Rolling Stone magazine said "changed music forever", and called the band "the Beatles of heavy metal". Time magazine called Paranoid "the birthplace of heavy metal", placing it in their Top 100 Albums of All Time.
MTV placed Black Sabbath at number one on their Top Ten Heavy Metal Bands and VH1 placed them at number two on their list of the 100 Greatest Artists of Hard Rock. VH1 ranked Black Sabbath's "Iron Man" the number one song on their 40 Greatest Metal Songs countdown. Rolling Stone magazine ranked the band number 85 in their list of the "100 Greatest Artists of All Time". AllMusic's William Ruhlmann said:
According to Rolling Stone Holly George-Warren, "Black Sabbath was the heavy metal king of the 1970s." Although initially "despised by rock critics and ignored by radio programmers", the group sold more than 8 million albums by the end of that decade. "The heavy metal band…" marvelled Ronnie James Dio. "A band that didn't apologise for coming to town; it just stepped on buildings when it came to town."
Influence and innovation
Black Sabbath have influenced many acts including Judas Priest, Iron Maiden, Diamond Head, Slayer, Metallica, Nirvana, Korn, Black Flag, Mayhem, Venom, Guns N' Roses, Soundgarden, Body Count, Alice in Chains, Anthrax, Disturbed, Death, Opeth, Pantera, Megadeth, the Smashing Pumpkins, Slipknot, Foo Fighters, Fear Factory, Candlemass, Godsmack, and Van Halen. Two gold selling tribute albums have been released, Nativity in Black Volume 1 & 2, including covers by Sepultura, White Zombie, Type O Negative, Faith No More, Machine Head, Primus, System of a Down, and Monster Magnet.
Metallica's Lars Ulrich, who, along with bandmate James Hetfield inducted Black Sabbath into the Rock and Roll Hall of Fame in 2006, said "Black Sabbath is and always will be synonymous with heavy metal", while Hetfield said "Sabbath got me started on all that evil-sounding shit, and it's stuck with me. Tony Iommi is the king of the heavy riff." Guns N' Roses guitarist Slash said of the Paranoid album: "There's just something about that whole record that, when you're a kid and you're turned onto it, it's like a whole different world. It just opens up your mind to another dimension...Paranoid is the whole Sabbath experience; very indicative of what Sabbath meant at the time. Tony's playing style—doesn't matter whether it's off Paranoid or if it's off Heaven and Hell—it's very distinctive." Anthrax guitarist Scott Ian said "I always get the question in every interview I do, 'What are your top five metal albums?' I make it easy for myself and always say the first five Sabbath albums."
Lamb of God's Chris Adler said: "If anybody who plays heavy metal says that they weren't influenced by Black Sabbath's music, then I think that they're lying to you. I think all heavy metal music was, in some way, influenced by what Black Sabbath did." Judas Priest vocalist Rob Halford commented: "They were and still are a groundbreaking band...you can put on the first Black Sabbath album and it still sounds as fresh today as it did 30-odd years ago. And that's because great music has a timeless ability: To me, Sabbath are in the same league as the Beatles or Mozart. They're on the leading edge of something extraordinary." On Black Sabbath's standing, Rage Against the Machine guitarist Tom Morello states: "The heaviest, scariest, coolest riffs and the apocalyptic Ozzy wail are without peer. You can hear the despair and menace of the working-class Birmingham streets they came from in every kick-ass, evil groove. Their arrival ground hippy, flower-power psychedelia to a pulp and set the standard for all heavy bands to come." Phil Anselmo of Pantera and Down stated that "Only a fool would leave out what Black Sabbath brought to the heavy metal genre".
According to Tracii Guns of L.A. Guns and former member of Guns N' Roses, the main riff of "Paradise City" by Guns N' Roses, from Appetite for Destruction (1987), was influenced by the song "Zero the Hero" from the Born Again album. King Diamond guitarist Andy LaRocque affirmed that the clean guitar part of "Sleepless Nights" from Conspiracy (1989) is inspired by Tony Iommi's playing on Never Say Die!.
In addition to being pioneers of heavy metal, they also have been credited for laying the foundations for heavy metal subgenres stoner rock, sludge metal, thrash metal, black metal and doom metal as well as for alternative rock subgenre grunge. According to the critic Bob Gulla, the band's sound "shows up in virtually all of grunge's most popular bands, including Nirvana, Soundgarden, and Alice in Chains".
Tony Iommi has been credited as the pioneer of lighter gauge guitar strings. The tips of his fingers were severed in a steel factory, and while using thimbles (artificial finger tips) he found that standard guitar strings were too difficult to bend and play. He found that there was only one size of strings available, so after years with Sabbath he had strings custom made.
Culturally, Black Sabbath have exerted a huge influence in both television and literature and have in many cases become synonymous with heavy metal. In the film Almost Famous, Lester Bangs gives the protagonist an assignment to cover the band (plot point one) with the immortal line: 'Give me 500 words on Black Sabbath'. Contemporary music and arts publication Trebuchet Magazine has put this to practice by asking all new writers to write a short piece (500 words) on Black Sabbath as a means of proving their creativity and voice on a well documented subject.
Band members
Original lineup
Tony Iommi – guitars
Bill Ward – drums
Geezer Butler – bass
Ozzy Osbourne – vocals, harmonica
Discography
Black Sabbath (1970)
Paranoid (1970)
Master of Reality (1971)
Vol. 4 (1972)
Sabbath Bloody Sabbath (1973)
Sabotage (1975)
Technical Ecstasy (1976)
Never Say Die! (1978)
Heaven and Hell (1980)
Mob Rules (1981)
Born Again (1983)
Seventh Star (1986)
The Eternal Idol (1987)
Headless Cross (1989)
Tyr (1990)
Dehumanizer (1992)
Cross Purposes (1994)
Forbidden (1995)
13'' (2013)
Tours
Polka Tulk Blues/Earth Tour 1968–1969
Black Sabbath Tour 1970
Paranoid Tour 1970–1971
Master of Reality Tour 1971–1972
Vol. 4 Tour 1972–1973
Sabbath Bloody Sabbath Tour 1973–1974
Sabotage Tour 1975–1976
Technical Ecstasy Tour 1976–1977
Never Say Die! Tour 1978
Heaven & Hell Tour 1980–1981
Mob Rules Tour 1981–1982
Born Again Tour 1983
Seventh Star Tour 1986
Eternal Idol Tour 1987
Headless Cross Tour 1989
Tyr Tour 1990
Dehumanizer Tour 1992
Cross Purposes Tour 1994
Forbidden Tour 1995
Ozzfest Tour 1997
European Tour 1998
Reunion Tour 1998–1999
Ozzfest Tour 1999
U.S. Tour 1999
European Tour 1999
Ozzfest Tour 2001
Ozzfest Tour 2004
European Tour 2005
Ozzfest Tour 2005
Black Sabbath Reunion Tour, 2012–2014
The End Tour 2016–2017
See also
List of cover versions of Black Sabbath songs
Heavy metal groups
References
Sources
External links
Black Sabbath biography by James Christopher Monger, discography and album reviews, credits & releases at AllMusic
Black Sabbath discography, album releases & credits at Discogs.com
Musical groups established in 1968
Musical groups disestablished in 2006
Musical groups reestablished in 2011
Musical groups disestablished in 2017
English heavy metal musical groups
Grammy Lifetime Achievement Award winners
1968 establishments in England
2017 disestablishments in England
Kerrang! Awards winners
I.R.S. Records artists
Vertigo Records artists
Musical groups from Birmingham, West Midlands
Musical quartets
| false |
[
"Travel III EP is the sixth album by the Christian rock band Future of Forestry, and the third in the \"Travel Series.\" The recording of the album “officially” started on February 11. It was released on June 29, 2010. Frontman Eric Owyoung wrote all of the songs for this EP and his wife, Tamara Owyoung, painted the cover art for the album. The band subsequently departed on what was called \"The 3 Tour\" to go along with the release. The tour was self-booked and took place in the West and Midwest regions of the United States starting on June 27, 2010 and ending on July 13, 2010.\n\nTrack listing\nThe names (and respective order) of the songs were released on the band's Myspace page leading up to the release of the CD, as they did for the rest of the Travel Series EPs. However, on Travel III, for the first time, Future of Forestry released the tracks out-of-order.\n\n \"Bold and Underlined\" - 4:04\n \"Working to Be Loved\" - 3:48\n \"Did You Lose Yourself\" - 4:47\n \"Protection\" - 4:14\n \"Horizon Rainfall\" - 2:53\n \"Your Day's Not Over\" - 5:00\n\nAwards\nThe album was nominated for a Dove Award for Rock Album of the Year at the 42nd GMA Dove Awards.\n\nReferences \n\n2010 EPs\nFuture of Forestry albums",
"Wolfsbane Save the World is the fourth studio album by the British heavy metal band Wolfsbane, released in 2012. This is the first album of new material that Wolfsbane have released since their self-titled album in 1994, although they did record one new song for their 2011 EP Did It for the Money. The album is available on the band's official website, as well as via the merchandise stand on the band's upcoming tour.\n\nTrack listing\n \"Blue Sky\" - 5:10\n \"Teacher\" - 4:05\n \"Buy My Pain\" - 3:47\n \"Starlight\" - 4:00\n \"Smoke and Red Light\" - 3:44\n \"Illusion of Love\" - 6:03\n \"Live Before I Die\" - 5:09\n \"Who Are You Now\" - 3:21\n \"Everybody's Looking for Something Baby\" - 4:06\n \"Child of the Sun\" - 3:39\n \"Did It for the Money\" - 3:34\n\nPersonnel\n\nWolfsbane\n Blaze Bayley - vocals\n Jason Edwards - guitar, producer, engineer\n Jeff Hateley - bass\n Steve \"Danger\" Ellett - drums\n\nAdditional musicians\nGivvi Flynn - vocals on track 6, backing vocals on track 8\nChris Catalyst - additional vocals on track 6\nGlen Buglass - backing vocals on track 4\n\nReferences\n\n2012 albums\nWolfsbane (band) albums"
] |
[
"Black Sabbath",
"Born Again (1983-1984)",
"Is Born Again the name of a Black Sabbath album?",
"Born Again (7 August 1983) was panned upon release by critics. Despite the negative reception of the album,",
"What is a single from the album?",
"The band headlined the 1983 Reading Festival in England, adding the Deep Purple song \"Smoke on the Water\" to their set list.",
"How did Born Again do on the music charts?",
"Despite the negative reception of the album, it reached number four on the UK charts, and number 39 in the U.S.",
"Why did the critics have a negative reception of the album?",
"I don't know.",
"Did the band tour for this album?",
"Although he performed on the album, drummer Ward was unable to tour because of the pressures of the road, and quit the band"
] |
C_33cdd6eae6294662ac88929b38897497_1
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Was Ward replaced by another drummer?
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Was Ward of Black Sabbath replaced by another drummer besides himself after leaving Black Sabbath?
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Black Sabbath
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The remaining two original members, Tony Iommi and Geezer Butler, began auditioning new singers for the band's next release. Samson's Nicky Moore, and Lone Star's John Sloman were considered and Iommi states in his autobiography that Michael Bolton auditioned for the band. The band settled on former Deep Purple vocalist Ian Gillan to replace Ronnie James Dio in December 1982. While the project was not initially set to be called Black Sabbath, pressures from the record label forced the group to retain the name. The band entered The Manor Studios in Shipton-on-Cherwell, Oxfordshire, in June 1983 with a returned and newly sober Bill Ward on drums. Born Again (7 August 1983) was panned upon release by critics. Despite the negative reception of the album, it reached number four on the UK charts, and number 39 in the U.S. Even a decade after its release AllMusic's Eduardo Rivadavia called the album "dreadful", noting that "Gillan's bluesy style and humorous lyrics were completely incompatible with the lords of doom and gloom". Although he performed on the album, drummer Ward was unable to tour because of the pressures of the road, and quit the band after the commencement of the Born Again album. "I fell apart with the idea of touring", Ward later said. "I got so much fear behind touring, I didn't talk about the fear, I drank behind the fear instead and that was a big mistake." Ward was replaced by former Electric Light Orchestra drummer Bev Bevan for the Born Again '83 -'84 world tour, (often unofficially referred to as the 'Feigh Death Sabbath '83 - '84' World Tour) which began in Europe with Diamond Head, and later in the U.S. with Quiet Riot and Night Ranger. The band headlined the 1983 Reading Festival in England, adding the Deep Purple song "Smoke on the Water" to their set list. The tour in support of Born Again included a giant set of the Stonehenge monument. In a move that would be later parodied in the mockumentary This Is Spinal Tap, the band made a mistake in ordering the set piece. As Geezer Butler later explained: We had Sharon Osbourne's dad, Don Arden, managing us. He came up with the idea of having the stage set be Stonehenge. He wrote the dimensions down and gave it to our tour manager. He wrote it down in metres but he meant to write it down in feet. The people who made it saw fifteen metres instead of fifteen feet. It was 45 feet high and it wouldn't fit on any stage anywhere so we just had to leave it in the storage area. It cost a fortune to make but there was not a building on earth that you could fit it into. CANNOTANSWER
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Ward was replaced by former Electric Light Orchestra drummer Bev Bevan for the Born Again '83 -'84 world tour,
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Black Sabbath were an English rock band formed in Birmingham in 1968 by guitarist Tony Iommi, drummer Bill Ward, bassist Geezer Butler and vocalist Ozzy Osbourne. They are often cited as pioneers of heavy metal music. The band helped define the genre with releases such as Black Sabbath (1970), Paranoid (1970), and Master of Reality (1971). The band had multiple line-up changes following Osbourne's departure in 1979, with Iommi being the only constant member throughout its history.
After previous iterations of the group called the Polka Tulk Blues Band and Earth, the band settled on the name Black Sabbath in 1969. They distinguished themselves through occult themes with horror-inspired lyrics and down-tuned guitars. Signing to Philips Records in November 1969, they released their first single, "Evil Woman" in January 1970. Their debut album, Black Sabbath, was released the following month. Though it received a negative critical response, the album was a commercial success, leading to a follow-up record, Paranoid, later that year. The band's popularity grew, and by 1973's Sabbath Bloody Sabbath, critics were starting to respond favourably.
Osbourne's excessive substance abuse led to his firing in 1979. He was replaced by former Rainbow vocalist Ronnie James Dio. Following two albums with Dio, Black Sabbath endured many personnel changes in the 1980s and 1990s that included vocalists Ian Gillan, Glenn Hughes, Ray Gillen and Tony Martin, as well as several drummers and bassists. Martin, who replaced Gillen in 1987, was the second longest serving vocalist and recorded three albums with Black Sabbath before his dismissal in 1991. That same year, Iommi and Butler were rejoined by Dio and drummer Vinny Appice to record Dehumanizer (1992). After two more studio albums with Martin, who replaced Dio in 1993, the band's original line-up reunited in 1997 and released a live album Reunion the following year; they continued to tour occasionally until 2005. Other than various back catalogue reissues and compilation albums, as well as the Mob Rules-era lineup reunited as Heaven & Hell, there was no further activity under the Black Sabbath name for six years. They reunited in 2011 and released their final studio album and nineteenth overall, 13 (2013), which features all of the original members except Ward. During their farewell tour, the band played their final concert in their home city of Birmingham on 4 February 2017.
Black Sabbath have sold over 70 million records worldwide as of 2013, making them one of the most commercially successful heavy metal bands. They were ranked by MTV as the "Greatest Metal Band" of all time, and placed second in VH1's "100 Greatest Artists of Hard Rock" list. Rolling Stone magazine ranked them number 85 on their "100 Greatest Artists of All Time". Black Sabbath were inducted into the UK Music Hall of Fame in 2005 and the Rock and Roll Hall of Fame in 2006. They have also won two Grammy Awards for Best Metal Performance, and in 2019 the band were presented a Grammy Lifetime Achievement Award.
History
1968–1969: Formation and early days
Following the break-up of their previous band Mythology in 1968, guitarist Tony Iommi and drummer Bill Ward sought to form a heavy blues rock band in Aston, Birmingham. They enlisted bassist Geezer Butler and vocalist Ozzy Osbourne, who had played together in a band called Rare Breed, Osbourne having placed an advertisement in a local music shop: "OZZY ZIG Needs Gig – has own PA". The new group was initially named the Polka Tulk Blues Band, the name taken either from a brand of talcum powder or an Indian/Pakistani clothing shop; the exact origin is confused. The Polka Tulk Blues Band included slide guitarist Jimmy Phillips, a childhood friend of Osbourne's, and saxophonist Alan "Aker" Clarke. After shortening the name to Polka Tulk, the band again changed their name to Earth (which Osbourne hated) and continued as a four-piece without Phillips and Clarke. Iommi became concerned that Phillips and Clarke lacked the necessary dedication and were not taking the band seriously. Rather than asking them to leave, they instead decided to break up and then quietly reformed the band as a four-piece. While the band was performing under the Earth title, they recorded several demos written by Norman Haines such as "The Rebel", "Song for Jim", and "When I Came Down". The demo titled "Song for Jim" was in reference to Jim Simpson. Simpson was a manager for the bands Bakerloo Blues Line and Tea & Symphony, as well as being trumpet player for the group Locomotive. Simpson had recently started a new club named Henry's Blueshouse at The Crown Hotel in Birmingham and offered to let Earth play there after they agreed to waive the usual support band fee in return for free t-shirts. The audience response was positive and Simpson agreed to manage Earth.
In December 1968, Iommi abruptly left Earth to join Jethro Tull. Although his stint with the band would be short-lived, Iommi made an appearance with Jethro Tull on The Rolling Stones Rock and Roll Circus TV show. Unsatisfied with the direction of Jethro Tull, Iommi returned to Earth by the end of the month. "It just wasn't right, so I left", Iommi said. "At first I thought Tull were great, but I didn't much go for having a leader in the band, which was Ian Anderson's way. When I came back from Tull, I came back with a new attitude altogether. They taught me that to get on, you got to work for it."
While playing shows in England in 1969, the band discovered they were being mistaken for another English group named Earth. They decided to change their name again. A cinema across the street from the band's rehearsal room was showing the 1963 horror film Black Sabbath starring Boris Karloff and directed by Mario Bava. While watching people line up to see the film, Butler noted that it was "strange that people spend so much money to see scary movies". Following that, Osbourne and Butler wrote the lyrics for a song called "Black Sabbath", which was inspired by the work of horror and adventure-story writer Dennis Wheatley, along with a vision that Butler had of a black silhouetted figure standing at the foot of his bed. Making use of the musical tritone, also known as "the Devil's Interval", the song's ominous sound and dark lyrics pushed the band in a darker direction, a stark contrast to the popular music of the late 1960s, which was dominated by flower power, folk music, and hippie culture. Judas Priest frontman Rob Halford has called the track "probably the most evil song ever written". Inspired by the new sound, the band changed their name to Black Sabbath in August 1969, and made the decision to focus on writing similar material, in an attempt to create the musical equivalent of horror films.
1969–1971: Black Sabbath and Paranoid
The band's first show as Black Sabbath took place on 30 August 1969, in Workington, England. They were signed to Philips Records in November 1969, and released their first single, "Evil Woman" (a cover of a song by the band Crow), recorded at Trident Studios, through Philips subsidiary Fontana Records in January 1970. Later releases were handled by Philips' newly formed progressive rock label, Vertigo Records.
Black Sabbath's first major exposure came when the band appeared on John Peel's Top Gear radio show in 1969, performing "Black Sabbath", "N.I.B.", "Behind the Wall of Sleep", and "Sleeping Village" to a national audience in Great Britain shortly before recording of their first album commenced. Although the "Evil Woman" single failed to chart, the band were afforded two days of studio time in November to record their debut album with producer Rodger Bain. Iommi recalls recording live: "We thought 'We have two days to do it and one of the days is mixing.' So we played live. Ozzy was singing at the same time, we just put him in a separate booth and off we went. We never had a second run of most of the stuff."
Black Sabbath was released on Friday the 13th, February 1970, and reached number 8 in the UK Albums Chart. Following its U.S. and Canadian release in May 1970 by Warner Bros. Records, the album reached number 23 on the Billboard 200, where it remained for over a year. The album was given negative reviews by many critics. Lester Bangs dismissed it in a Rolling Stone review as "discordant jams with bass and guitar reeling like velocitised speedfreaks all over each other's musical perimeters, yet never quite finding synch". It sold in substantial numbers despite being panned, giving the band their first mainstream exposure. It has since been certified platinum in both U.S. by the Recording Industry Association of America (RIAA) and in the UK by British Phonographic Industry (BPI), and is now generally accepted as the first heavy metal album.
The band returned to the studio in June 1970, just four months after Black Sabbath was released. The new album was initially set to be named War Pigs after the song "War Pigs", which was critical of the Vietnam War; however, Warner changed the title of the album to Paranoid. The album's lead-off single, "Paranoid", was written in the studio at the last minute. Ward explains: "We didn't have enough songs for the album, and Tony just played the [Paranoid] guitar lick and that was it. It took twenty, twenty-five minutes from top to bottom." The single was released in September 1970 and reached number four on the UK Singles Chart, remaining Black Sabbath's only top ten hit. The album followed in the UK in October 1970, where, pushed by the success of the "Paranoid" single, it made number one in the UK Albums Chart.
The U.S. release was held off until January 1971, as the Black Sabbath album was still on the chart at the time of Paranoids UK release. The album reached No. 12 in the U.S. in March 1971, and would go on to sell four million copies in the U.S., with virtually no radio airplay. Like Black Sabbath, the album was panned by rock critics of the era, but modern-day reviewers such as AllMusic's Steve Huey cite Paranoid as "one of the greatest and most influential heavy metal albums of all time", which "defined the sound and style of heavy metal more than any other record in rock history". The album was ranked at No. 131 on Rolling Stone magazine's list of The 500 Greatest Albums of All Time. Paranoids chart success allowed the band to tour the U.S. for the first time (playing their first U.S. show at a club called Ungano's at 210 West 70th Street in New York City) and spawned the release of the album's second single "Iron Man". Although the single failed to reach the top 40, "Iron Man" remains one of Black Sabbath's most popular songs, as well as the band's highest charting U.S. single until 1998's "Psycho Man".
1971–1973: Master of Reality and Volume 4
In February 1971, after a one-off performance at the Myponga Pop Festival in Australia, Black Sabbath returned to the studio to begin work on their third album. Following the chart success of Paranoid, the band were afforded more studio time, along with a "briefcase full of cash" to buy drugs. "We were getting into coke, big time", Ward explained. "Uppers, downers, Quaaludes, whatever you like. It got to the stage where you come up with ideas and forget them, because you were just so out of it."
Production completed in April 1971, in July the band released Master of Reality, just six months after the U.S. release of Paranoid. The album reached the top ten in the U.S. and the United Kingdom, and was certified gold in less than two months, eventually receiving platinum certification in the 1980s and Double Platinum in the early 21st century. It contained Sabbath's first acoustic songs, alongside fan favourites such as "Children of the Grave" and "Sweet Leaf". Critical response of the era was generally unfavourable, with Lester Bangs delivering an ambivalent review of Master of Reality in Rolling Stone, describing the closing "Children of the Grave" as "naïve, simplistic, repetitive, absolute doggerel – but in the tradition [of rock'n'roll]... The only criterion is excitement, and Black Sabbath's got it". (In 2003, Rolling Stone would place the album at number 300 on their 500 Greatest Albums of All Time list.)
Following the Master of Reality world tour in 1972, Sabbath took its first break in three years. As Ward explained: "The band started to become very fatigued and very tired. We'd been on the road non-stop, year in and year out, constantly touring and recording. I think Master of Reality was kind of like the end of an era, the first three albums, and we decided to take our time with the next album."
In June 1972, the band reconvened in Los Angeles to begin work on their next album at the Record Plant. With more time in the studio, the album saw the band experimenting with new textures, such as strings, piano, orchestration and multi-part songs. Recording was plagued with problems, many as a result of substance abuse issues. Struggling to record the song "Cornucopia" after "sitting in the middle of the room, just doing drugs", Ward was nearly fired. "I hated the song, there were some patterns that were just... horrible," the drummer said. "I nailed it in the end, but the reaction I got was the cold shoulder from everybody. It was like 'Well, just go home, you're not being of any use right now.' I felt like I'd blown it, I was about to get fired". Butler thought that the end product "was very badly produced, as far as I was concerned. Our then-manager insisted on producing it, so he could claim production costs."
The album was originally titled Snowblind after the song of the same name, which deals with cocaine abuse. The record company changed the title at the last minute to Black Sabbath Vol. 4. Ward observed, "There was no Volume 1, 2 or 3, so it's a pretty stupid title really". Vol. 4 was released in September 1972 and, while critics were dismissive, it achieved gold status in less than a month, and was the band's fourth consecutive release to sell a million in the U.S. "Tomorrow's Dream" was released as a single – the band's first since "Paranoid" – but failed to chart.
Following an extensive tour of the U.S., in 1973 the band travelled again to Australia, followed by a tour for the first time to New Zealand, before moving onto mainland Europe. "The band were definitely in their heyday," recalled Ward, "in the sense that nobody had burnt out quite yet."
1973–1976: Sabbath Bloody Sabbath and Sabotage
Following the Volume 4 world tour, Black Sabbath returned to Los Angeles to begin work on their next release. Pleased with the Volume 4 album, the band sought to recreate the recording atmosphere, and returned to the Record Plant studio in Los Angeles. With new musical innovations of the era, the band were surprised to find that the room they had used previously at the Record Plant was replaced by a "giant synthesiser". The band rented a house in Bel Air and began writing in the summer of 1973, but in part because of substance issues and fatigue, they were unable to complete any songs. "Ideas weren't coming out the way they were on Volume 4 and we really got discontent" Iommi said. "Everybody was sitting there waiting for me to come up with something. I just couldn't think of anything. And if I didn't come up with anything, nobody would do anything."
After a month in Los Angeles with no results, the band opted to return to England. They rented Clearwell Castle in The Forest of Dean. "We rehearsed in the dungeons and it was really creepy but it had some atmosphere, it conjured up things, and stuff started coming out again." While working in the dungeon, Iommi stumbled onto the main riff of "Sabbath Bloody Sabbath", which set the tone for the new material. Recorded at Morgan Studios in London by Mike Butcher and building off the stylistic changes introduced on Volume 4, new songs incorporated synthesisers, strings, and complex arrangements. Yes keyboardist Rick Wakeman was brought in as a session player, appearing on "Sabbra Cadabra".
In November 1973, Black Sabbath began to receive positive reviews in the mainstream press after the release of Sabbath Bloody Sabbath, with Gordon Fletcher of Rolling Stone calling the album "an extraordinarily gripping affair", and "nothing less than a complete success." Later reviewers such as AllMusic's Eduardo Rivadavia cite the album as a "masterpiece, essential to any heavy metal collection", while also displaying "a newfound sense of finesse and maturity." The album marked the band's fifth consecutive platinum selling album in the U.S., reaching number four on the UK Albums Chart, and number eleven in the U.S.
The band began a world tour in January 1974, which culminated at the California Jam festival in Ontario, California, on 6 April 1974. Attracting over 200,000 fans, Black Sabbath appeared alongside popular 1970s rock and pop bands Deep Purple, Eagles, Emerson, Lake & Palmer, Rare Earth, Seals & Crofts, Black Oak Arkansas, and Earth, Wind & Fire. Portions of the show were telecast on ABC Television in the U.S., exposing the band to a wider American audience. In the same year, the band shifted management, signing with notorious English manager Don Arden. The move caused a contractual dispute with Black Sabbath's former management, and while on stage in the U.S., Osbourne was handed a subpoena that led to two years of litigation.
Black Sabbath began work on their sixth album in February 1975, again in England at Morgan Studios in Willesden, this time with a decisive vision to differ the sound from Sabbath, Bloody Sabbath. "We could've continued and gone on and on, getting more technical, using orchestras and everything else which we didn't particularly want to. We took a look at ourselves, and we wanted to do a rock album – Sabbath, Bloody Sabbath wasn't a rock album, really." Produced by Black Sabbath and Mike Butcher, Sabotage was released in July 1975. As with its precursor, the album initially saw favourable reviews, with Rolling Stone stating "Sabotage is not only Black Sabbath's best record since Paranoid, it might be their best ever", although later reviewers such as AllMusic noted that "the magical chemistry that made such albums as Paranoid and Volume 4 so special was beginning to disintegrate".
Sabotage reached the top 20 in both the U.S. and the United Kingdom, but was the band's first release not to achieve Platinum status in the U.S., only achieving Gold certification. Although the album's only single "Am I Going Insane (Radio)" failed to chart, Sabotage features fan favourites such as "Hole in the Sky", and "Symptom of the Universe". Black Sabbath toured in support of Sabotage with openers Kiss, but were forced to cut the tour short in November 1975, following a motorcycle accident in which Osbourne ruptured a muscle in his back. In December 1975, the band's record companies released a greatest hits album without input from the band, titled We Sold Our Soul for Rock 'n' Roll. The album charted throughout 1976, eventually selling two million copies in the U.S.
1976–1979: Technical Ecstasy, Never Say Die!, and Osbourne's departure
Black Sabbath began work for their next album at Criteria Studios in Miami, Florida, in June 1976. To expand their sound, the band added keyboard player Gerald Woodroffe, who also had appeared to a lesser extent on Sabotage. During the recording of Technical Ecstasy, Osbourne admits that he began losing interest in Black Sabbath and began to consider the possibility of working with other musicians. Recording of Technical Ecstasy was difficult; by the time the album was completed Osbourne was admitted to Stafford County Asylum in Britain. It was released on 25 September 1976 to mixed reviews, and (for the first time) later music critics gave the album less favourable retrospective reviews; two decades after its release AllMusic gave the album two stars, and noted that the band was "unravelling at an alarming rate". The album featured less of the doomy, ominous sound of previous efforts, and incorporated more synthesisers and uptempo rock songs. Technical Ecstasy failed to reach the top 50 in the U.S., and was the band's second consecutive release not to achieve platinum status, although it was later certified gold in 1997. The album included "Dirty Women", which remains a live staple, as well as Ward's first lead vocal on the song "It's Alright". Touring in support of Technical Ecstasy began in November 1976, with openers Boston and Ted Nugent in the U.S., and completed in Europe with AC/DC in April 1977.
In late 1977, while in rehearsal for their next album, and just days before the band was set to enter the studio, Osbourne abruptly quit the band. Iommi called vocalist Dave Walker, a longtime friend of the band, who had previously been a member of Fleetwood Mac and Savoy Brown, and informed him that Osbourne had left the band. Walker, who was at that time fronting a band called Mistress, flew to Birmingham from California in late 1977 to write material and rehearse with Black Sabbath. On 8 January 1978, Black Sabbath made their only live performance with Walker on vocals, playing an early version of the song "Junior's Eyes" on the BBC Television programme "Look! Hear!" Walker later recalled that while in Birmingham he had bumped into Osbourne in a pub and came to the conclusion that Osbourne was not fully committed to leaving Black Sabbath. "The last Sabbath albums were just very depressing for me", Osbourne said. "I was doing it for the sake of what we could get out of the record company, just to get fat on beer and put a record out." Walker has said that he wrote a lot of lyrics during his brief time in the band but none of them were ever used. If any recordings of this version of the band other than the "Look! Hear!" footage still exist, Walker says that he is not aware of them.
Osbourne initially set out to form a solo project featuring former Dirty Tricks members John Frazer-Binnie, Terry Horbury, and Andy Bierne. As the new band were in rehearsals in January 1978, Osbourne had a change of heart and rejoined Black Sabbath. "Three days before we were due to go into the studio, Ozzy wanted to come back to the band", Iommi explained. "He wouldn't sing any of the stuff we'd written with the other guy (Walker), so it made it very difficult. We went into the studio with basically no songs. We'd write in the morning so we could rehearse and record at night. It was so difficult, like a conveyor belt, because you couldn't get time to reflect on stuff. 'Is this right? Is this working properly?' It was very difficult for me to come up with the ideas and putting them together that quick."
The band spent five months at Sounds Interchange Studios in Toronto, Ontario, Canada, writing and recording what would become Never Say Die!. "It took quite a long time", Iommi said. "We were getting really drugged out, doing a lot of dope. We'd go down to the sessions, and have to pack up because we were too stoned, we'd have to stop. Nobody could get anything right, we were all over the place, everybody's playing a different thing. We'd go back and sleep it off, and try again the next day." The album was released in September 1978, reaching number twelve in the United Kingdom, and number 69 in the U.S. Press response was unfavourable and did not improve over time with Eduardo Rivadavia of AllMusic stating two decades after its release that the album's "unfocused songs perfectly reflected the band's tense personnel problems and drug abuse." The album featured the singles "Never Say Die" and "Hard Road", both of which cracked the top 40 in the United Kingdom. The band also made their second appearance on the BBC's Top of the Pops, performing "Never Say Die". It took nearly 20 years for the album to be certified Gold in the U.S.
Touring in support of Never Say Die! began in May 1978 with openers Van Halen. Reviewers called Black Sabbath's performance "tired and uninspired", a stark contrast to the "youthful" performance of Van Halen, who were touring the world for the first time. The band filmed a performance at the Hammersmith Odeon in June 1978, which was later released on DVD as Never Say Die. The final show of the tour, and Osbourne's last appearance with the band (until later reunions) was in Albuquerque, New Mexico on 11 December.
Following the tour, Black Sabbath returned to Los Angeles and again rented a house in Bel Air, where they spent nearly a year working on new material for the next album. The entire band were abusing both alcohol and other drugs, but Iommi says Osbourne "was on a totally different level altogether". The band would come up with new song ideas but Osbourne showed little interest and would refuse to sing them. Pressure from the record label and frustrations with Osbourne's lack of input coming to a head, Iommi made the decision to fire Osbourne in 1979. Iommi believed the only options available were to fire Osbourne or break the band up completely. "At that time, Ozzy had come to an end", Iommi said. "We were all doing a lot of drugs, a lot of coke, a lot of everything, and Ozzy was getting drunk so much at the time. We were supposed to be rehearsing and nothing was happening. It was like 'Rehearse today? No, we'll do it tomorrow.' It really got so bad that we didn't do anything. It just fizzled out." Drummer Ward, who was close with Osbourne, was chosen by Tony to break the news to the singer on 27 April 1979. "I hope I was professional, I might not have been, actually. When I'm drunk I am horrible, I am horrid", Ward said. "Alcohol was definitely one of the most damaging things to Black Sabbath. We were destined to destroy each other. The band were toxic, very toxic."
1979–1982: Dio joins, Heaven and Hell, and Mob Rules
Sharon Arden (later Sharon Osbourne), daughter of Black Sabbath manager Don Arden, suggested former Rainbow vocalist Ronnie James Dio to replace Ozzy Osbourne in 1979. Don Arden was at this point still trying to convince Osbourne to rejoin the band, as he viewed the original line-up as the most profitable. Dio officially joined in June, and the band began writing their next album. With a notably different vocal style from Osbourne's, Dio's addition to the band marked a change in Black Sabbath's sound. "They were totally different altogether", Iommi explains. "Not only voice-wise, but attitude-wise. Ozzy was a great showman, but when Dio came in, it was a different attitude, a different voice and a different musical approach, as far as vocals. Dio would sing across the riff, whereas Ozzy would follow the riff, like in "Iron Man". Ronnie came in and gave us another angle on writing."
Geezer Butler temporarily left the band in September 1979 for personal reasons. According to Dio, the band initially hired Craig Gruber (with whom Dio had previously played while in Elf) on bass to assist with writing the new album. Gruber was soon replaced by Geoff Nicholls of Quartz. The new line-up returned to Criteria Studios in November to begin recording work, with Butler returning to the band in January 1980, and Nicholls moving to keyboards. Produced by Martin Birch, Heaven and Hell was released on 25 April 1980, to critical acclaim. Over a decade after its release AllMusic said the album was "one of Sabbath's finest records, the band sounds reborn and re-energised throughout". Heaven and Hell peaked at number 9 in the United Kingdom, and number 28 in the U.S., the band's highest charting album since Sabotage. The album eventually sold a million copies in the U.S., and the band embarked on an extensive world tour, making their first live appearance with Dio in Germany on 17 April 1980.
Black Sabbath toured the U.S. throughout 1980 with Blue Öyster Cult on the "Black and Blue" tour, with a show at Nassau Coliseum in Uniondale, New York filmed and released theatrically in 1981 as Black and Blue. On 26 July 1980, the band played to 75,000 fans at a sold-out Los Angeles Memorial Coliseum with Journey, Cheap Trick, and Molly Hatchet. The next day, the band appeared at the 1980 Day on the Green at Oakland Coliseum. While on tour, Black Sabbath's former label in England issued a live album culled from a seven-year-old performance, titled Live at Last without any input from the band. The album reached number five on the UK chart, and saw the re-release of "Paranoid" as a single, which reached the top 20.
On 18 August 1980, after a show in Minneapolis, Ward quit the band. "It was intolerable for me to get on the stage without Ozzy. And I drank 24 hours a day, my alcoholism accelerated". Geezer Butler stated that after Ward's final show, the drummer came in drunk, stating that "He might as well be a Martian". Ward then got angry, packed his things and got on a bus to leave. Following Ward's sudden departure, the group hired drummer Vinny Appice. Further trouble for the band came during their 9 October 1980 concert at the Milwaukee Arena, which degenerated into a riot causing $10,000 in damages to the arena and resulted in 160 arrests. According to the Associated Press, "the crowd of mostly adolescent males first became rowdy in a performance by the Blue Oyster Cult" and then grew restless while waiting an hour for Black Sabbath to begin playing. A member of the audience threw a beer bottle that struck bassist Butler and effectively ended the show. "The band then abruptly halted its performance and began leaving" as the crowd rioted.
The band completed the Heaven and Hell world tour in February 1981, and returned to the studio to begin work on their next album. Black Sabbath's second studio album produced by Martin Birch and featuring Ronnie James Dio as vocalist Mob Rules was released in October 1981, to be well received by fans, but less so by the critics. Rolling Stone reviewer J. D. Considine gave the album one star, claiming "Mob Rules finds the band as dull-witted and flatulent as ever". Like most of the band's earlier work, time helped to improve the opinions of the music press, a decade after its release, AllMusic's Eduardo Rivadavia called Mob Rules "a magnificent record". The album was certified gold, and reached the top 20 on the UK chart. The album's title track "The Mob Rules", which was recorded at John Lennon's old house in England, also featured in the 1981 animated film Heavy Metal, although the film version is an alternate take, and differs from the album version.
Unhappy with the quality of 1980's Live at Last, the band recorded another live album—titled Live Evil—during the Mob Rules world tour, across the United States in Dallas, San Antonio, and Seattle, in 1982. During the mixing process for the album, Iommi and Butler had a falling out with Dio. Misinformed by their then-current mixing engineer, Iommi and Butler accused Dio of sneaking into the studio at night to raise the volume of his vocals.<ref>{{cite web|last=Marszalek|first=Julian|title=Black Sabbath's Tony Iommi Recalls the 'Heaven and Hell Era|url=http://www.spinner.com/2010/04/02/black-sabbath-tony-iommi-interview/|archive-url=https://web.archive.org/web/20120320015547/http://www.spinner.com/2010/04/02/black-sabbath-tony-iommi-interview/|url-status=dead|archive-date=20 March 2012|publisher=spinner.com|access-date=26 January 2019}}</ref> In addition, Dio was not satisfied with the pictures of him in the artwork. Butler also accused Dio and Appice of working on a solo album during the album's mixing without telling the other members of Black Sabbath. "Ronnie wanted more say in things," Iommi said. "And Geezer would get upset with him and that is where the rot set in. Live Evil is when it all fell apart. Ronnie wanted to do more of his own thing, and the engineer we were using at the time in the studio didn't know what to do, because Ronnie was telling him one thing and we were telling him another. At the end of the day, we just said, 'That's it, the band is over'". "When it comes time for the vocal, nobody tells me what to do. Nobody! Because they're not as good as me, so I do what I want to do," Dio later said. "I refuse to listen to Live Evil, because there are too many problems. If you look at the credits, the vocals and drums are listed off to the side. Open up the album and see how many pictures there are of Tony, and how many there are of me and Vinny".
Ronnie James Dio left Black Sabbath in November 1982 to start his own band, and took drummer Vinny Appice with him. Live Evil was released in January 1983, but was overshadowed by Ozzy Osbourne's platinum selling album Speak of the Devil.
1982–1984: Gillan as singer and Born Again
The remaining original members, Iommi and Butler, began auditioning singers for the band's next release. Deep Purple and Whitesnake's David Coverdale, Samson's Nicky Moore and Lone Star's John Sloman were all considered and Iommi states in his autobiography that Michael Bolton auditioned. The band settled on former Deep Purple vocalist Ian Gillan to replace Dio in December 1982. The project was initially not to be called Black Sabbath, but pressure from the record label forced the group to retain the name. The band entered The Manor Studios in Shipton-on-Cherwell, Oxfordshire, in June 1983 with a returned and newly sober Bill Ward on drums. "That was the very first album that I ever did clean and sober," Ward recalled. "I only got drunk after I finished all my work on the album – which wasn't a very good idea... Sixty to seventy per cent of my energy was taken up on learning how to get through the day without taking a drink and learning how to do things without drinking, and thirty per cent of me was involved in the album."Born Again (7 August 1983) was panned on release by critics. Despite this negative reception, it reached number four in the UK, and number 39 in the U.S. Even three decades after its release, AllMusic's Eduardo Rivadavia called the album "dreadful", noting that "Gillan's bluesy style and humorous lyrics were completely incompatible with the lords of doom and gloom".
Unable to tour because of the pressures of the road, Ward quit the band. "I fell apart with the idea of touring," he later explained. "I got so much fear behind touring, I didn't talk about the fear, I drank behind the fear instead and that was a big mistake." He was replaced by former Electric Light Orchestra drummer Bev Bevan for the Born Again '83–'84 world tour, (often unofficially referred to as the 'Feighn Death Sabbath '83–'84' World Tour) which began in Europe with Diamond Head, and later in the U.S. with Quiet Riot and Night Ranger. The band headlined the 1983 Reading Festival in England, adding Deep Purple's "Smoke on the Water" to their encore.
The tour in support of Born Again included a giant set of the Stonehenge monument. In a move later parodied in the mockumentary This Is Spinal Tap, the band made a mistake in ordering the set piece. Butler explained:
1984–1987: Hiatus, Hughes as singer, Seventh Star, and Gillen as singer
Following the completion of the Born Again tour in March 1984, vocalist Ian Gillan left Black Sabbath to re-join Deep Purple, which was reforming after a long hiatus. Bevan left at the same time, and Gillan remarked that he and Bevan were made to feel like "hired help" by Iommi. The band then recruited an unknown Los Angeles vocalist named David Donato and Ward once again rejoined the band. The new line-up wrote and rehearsed throughout 1984, and eventually recorded a demo with producer Bob Ezrin in October. Unhappy with the results, the band parted ways with Donato shortly after. Disillusioned with the band's revolving line-up, Ward left shortly after stating "This isn't Black Sabbath". Butler would quit Sabbath next in November 1984 to form a solo band. "When Ian Gillan took over that was the end of it for me," he said. "I thought it was just a joke and I just totally left. When we got together with Gillan it was not supposed to be a Black Sabbath album. After we had done the album we gave it to Warner Bros. and they said they were going to put it out as a Black Sabbath album and we didn't have a leg to stand on. I got really disillusioned with it and Gillan was really pissed off about it. That lasted one album and one tour and then that was it."
One vocalist whose status is disputed, both inside and outside Sabbath, is Christian evangelist and former Joshua frontman Jeff Fenholt. Fenholt insists he was a singer in Sabbath between January and May 1985. Iommi has never confirmed this. Fenholt gives a detailed account in Garry Sharpe-Young's book Sabbath Bloody Sabbath: The Battle for Black Sabbath.
Following both Ward's and Butler's exits, sole remaining original member Iommi put Sabbath on hiatus, and began work on a solo album with long-time Sabbath keyboardist Geoff Nicholls. While working on new material, the original Sabbath line-up agreed to a spot at Bob Geldof's Live Aid, performing at the Philadelphia show on 13 July 1985. This event – which also featured reunions of The Who and Led Zeppelin – marked the first time the original line-up had appeared on stage since 1978. "We were all drunk when we did Live Aid," recalled Geezer Butler, "but we'd all got drunk separately."
Returning to his solo work, Iommi enlisted bassist Dave Spitz (ex-Great White), drummer Eric Singer and initially intended to use multiple singers, including Rob Halford of Judas Priest, former Deep Purple and Trapeze vocalist Glenn Hughes, and former Sabbath vocalist Ronnie James Dio. This plan didn't work as he forecasted. "We were going to use different vocalists on the album, guest vocalists, but it was so difficult getting it together and getting releases from their record companies. Glenn Hughes came along to sing on one track and we decided to use him on the whole album."
The band spent the remainder of the year in the studio, recording what would become Seventh Star (1986). Warner Bros. refused to release the album as a Tony Iommi solo release, instead insisting on using the name Black Sabbath. Pressured by the band's manager, Don Arden, the two compromised and released the album as "Black Sabbath featuring Tony Iommi" in January 1986. "It opened up a whole can of worms," Iommi explained. "If we could have done it as a solo album, it would have been accepted a lot more." Seventh Star sounded little like a Sabbath album, incorporating instead elements popularised by the 1980s Sunset Strip hard rock scene. It was panned by the critics of the era, although later reviewers such as AllMusic gave album verdicts, calling the album "often misunderstood and underrated".
The new line-up rehearsed for six weeks preparing for a full world tour, although the band were eventually forced to use the Sabbath name. "I was into the 'Tony Iommi project', but I wasn't into the Black Sabbath moniker," Hughes said. "The idea of being in Black Sabbath didn't appeal to me whatsoever. Glenn Hughes singing in Black Sabbath is like James Brown singing in Metallica. It wasn't gonna work." Just four days before the start of the tour, Hughes got into a bar fight with the band's production manager John Downing which splintered the singer's orbital bone. The injury interfered with Hughes' ability to sing, and the band brought in vocalist Ray Gillen to continue the tour with W.A.S.P. and Anthrax, although nearly half of the U.S. dates would be cancelled because of poor ticket sales.
Black Sabbath began work on new material in October 1986 at Air Studios in Montserrat with producer Jeff Glixman. The recording was fraught with problems from the beginning, as Glixman left after the initial sessions to be replaced by producer Vic Coppersmith-Heaven. Bassist Dave Spitz quit over "personal issues", and former Rainbow and Ozzy Osbourne bassist Bob Daisley was brought in. Daisley re-recorded all of the bass tracks, and wrote the album's lyrics, but before the album was complete, he left to join Gary Moore's backing band, taking drummer Eric Singer with him. After problems with second producer Coppersmith-Heaven, the band returned to Morgan Studios in England in January 1987 to work with new producer Chris Tsangarides. While working in the United Kingdom, new vocalist Ray Gillen abruptly left Black Sabbath to form Blue Murder with guitarist John Sykes (ex-Tygers of Pan Tang, Thin Lizzy, Whitesnake).
1987–1990: Martin joins, The Eternal Idol, Headless Cross, and Tyr
The band enlisted heavy metal vocalist Tony Martin to re-record Gillen's tracks, and former Electric Light Orchestra drummer Bev Bevan to complete a few percussion overdubs. Before the release of the new album Black Sabbath accepted an offer to play six shows at Sun City, South Africa during the apartheid era. The band drew criticism from activists and artists involved with Artists United Against Apartheid, who had been boycotting South Africa since 1985. Drummer Bev Bevan refused to play the shows, and was replaced by Terry Chimes, formerly of the Clash.
After nearly a year in production, The Eternal Idol was released on 8 December 1987 and ignored by contemporary reviewers. On-line internet era reviews were mixed. AllMusic said that "Martin's powerful voice added new fire" to the band, and the album contained "some of Iommi's heaviest riffs in years." Blender gave the album two stars, claiming the album was "Black Sabbath in name only". The album would stall at No. 66 in the United Kingdom, while peaking at 168 in the U.S. The band toured in support of Eternal Idol in Germany, Italy and for the first time, Greece. In part due to a backlash from promoters over the South Africa incident, other European shows were cancelled. Bassist Dave Spitz left the band shortly before the tour, and was replaced by Jo Burt, formerly of Virginia Wolf.
Following the poor commercial performance of The Eternal Idol, Black Sabbath were dropped by both Vertigo Records and Warner Bros. Records, and signed with I.R.S. Records. The band took time off in 1988, returning in August to begin work on their next album. As a result of the recording troubles with Eternal Idol, Tony Iommi opted to produce the band's next album himself. "It was a completely new start", Iommi said. "I had to rethink the whole thing, and decided that we needed to build up some credibility again". Iommi enlisted former Rainbow drummer Cozy Powell, long-time keyboardist Nicholls and session bassist Laurence Cottle, and rented a "very cheap studio in England".
Black Sabbath released Headless Cross in April 1989, and it was also ignored by contemporary reviewers, although AllMusic contributor Eduardo Rivadavia gave the album four stars and called it "the finest non-Ozzy or Dio Black Sabbath album". Anchored by the number 62 charting single "Headless Cross", the album reached number 31 on the UK chart, and number 115 in the U.S. Queen guitarist Brian May, a good friend of Iommi's, played a guest solo on the song "When Death Calls". Following the album's release the band added touring bassist Neil Murray, formerly of Colosseum II, National Health, Whitesnake, Gary Moore's backing band, and Vow Wow.
The unsuccessful Headless Cross U.S. tour began in May 1989 with openers Kingdom Come and Silent Rage, but because of poor ticket sales, the tour was cancelled after just eight shows. The European leg of the tour began in September, where the band were enjoying chart success. After a string of Japanese shows the band embarked on a 23 date Russian tour with Girlschool. Black Sabbath was one of the first bands to tour Russia, after Mikhail Gorbachev opened the country to western acts for the first time in 1989.
The band returned to the studio in February 1990 to record Tyr, the follow-up to Headless Cross. While not technically a concept album, some of the album's lyrical themes are loosely based on Norse mythology. Tyr was released on 6 August 1990, reaching number 24 on the UK albums chart, but was the first Black Sabbath release not to break the Billboard 200 in the U.S. The album would receive mixed internet-era reviews, with AllMusic noting that the band "mix myth with metal in a crushing display of musical synthesis", while Blender gave the album just one star, claiming that "Iommi continues to besmirch the Sabbath name with this unremarkable collection". The band toured in support of Tyr with Circus of Power in Europe, but the final seven United Kingdom dates were cancelled because of poor ticket sales. For the first time in their career, the band's touring cycle did not include U.S. dates.
1990–1992: Dio rejoins and Dehumanizer
While on his Lock Up the Wolves U.S. tour in August 1990, former Sabbath vocalist Ronnie James Dio was joined onstage at the Roy Wilkins Auditorium by Geezer Butler to perform "Neon Knights". Following the show, the two expressed interest in rejoining Sabbath. Butler convinced Iommi, who in turn broke up the current lineup, dismissing vocalist Tony Martin and bassist Neil Murray. "I do regret that in a lot of ways," Iommi said. "We were at a good point then. We decided to [reunite with Dio] and I don't even know why, really. There's the financial aspect, but that wasn't it. I seemed to think maybe we could recapture something we had."
Dio and Butler joined Iommi and Cozy Powell in autumn 1990 to begin the next Sabbath release. While rehearsing in November, Powell suffered a broken hip when his horse died and fell on the drummer's legs. Unable to complete the album, Powell was replaced by former drummer Vinny Appice, reuniting the Mob Rules lineup, and the band entered the studio with producer Reinhold Mack. The year-long recording was plagued with problems, primarily stemming from writing tension between Iommi and Dio. Songs were rewritten multiple times. "It was just hard work," Iommi said. "We took too long on it, that album cost us a million dollars, which is bloody ridiculous." Dio recalled the album as difficult, but worth the effort: "It was something we had to really wring out of ourselves, but I think that's why it works. Sometimes you need that kind of tension, or else you end up making the Christmas album".
The resulting Dehumanizer was released on 22 June 1992. In the U.S., the album was released on 30 June 1992 by Reprise Records, as Dio and his namesake band were still under contract to the label at the time. While the album received mixed , it was the band's biggest commercial success in a decade. Anchored by the top 40 rock radio single "TV Crimes", the album peaked at number 44 on the Billboard 200. The album also featured "Time Machine", a version of which had been recorded for the 1992 film Wayne's World. Additionally, the perception among fans of a return of some semblance of the "real" Sabbath provided the band with much needed momentum.
Sabbath began touring in support of Dehumanizer in July 1992 with Testament, Danzig, Prong, and Exodus. While on tour, former vocalist Ozzy Osbourne announced his first retirement, and invited Sabbath to open for his solo band at the final two shows of his No More Tours tour in Costa Mesa, California. The band agreed, aside from Dio, who told Iommi, "I'm not doing that. I'm not supporting a clown." Dio spoke of the situation years later:
Dio quit Sabbath following a show in Oakland, California on 13 November 1992, one night before the band were set to appear at Osbourne's retirement show. Judas Priest vocalist Rob Halford stepped in at the last minute, performing two nights with the band. Iommi and Butler joined Osbourne and former drummer Ward on stage for the first time since 1985's Live Aid concert, performing a brief set of Sabbath songs. This set the stage for a longer-term reunion of the original lineup, though that plan proved short-lived. "Ozzy, Geezer, Tony and Bill announced the reunion of Black Sabbath – again," remarked Dio. "And I thought that it was a great idea. But I guess Ozzy didn't think it was such a great idea… I'm never surprised when it comes to whatever happens with them. Never at all. They are very predictable. They don't talk."
1992–1997: Martin rejoins, Cross Purposes, and Forbidden
Drummer Vinny Appice left the band following the reunion show to rejoin Ronnie James Dio's solo band, later appearing on Dio's Strange Highways and Angry Machines. Iommi and Butler enlisted former Rainbow drummer Bobby Rondinelli, and reinstated former vocalist Tony Martin. The band returned to the studio to work on new material, although the project was not originally intended to be released under the Black Sabbath name. As Geezer Butler explains:
Under pressure from their record label, the band released their seventeenth studio album, Cross Purposes, on 8 February 1994, under the Black Sabbath name. The album received mixed reviews, with Blender giving the album two stars, calling Soundgarden's 1994 album Superunknown "a far better Sabbath album than this by-the-numbers potboiler". AllMusic's Bradley Torreano called Cross Purposes "the first album since Born Again that actually sounds like a real Sabbath record". The album just missed the Top 40 in the UK reaching number 41, and also reached 122 on the Billboard 200 in the U.S. Cross Purposes contained the song "Evil Eye", which was co-written by Van Halen guitarist Eddie Van Halen, although uncredited because of record label restrictions. Touring in support of Cross Purposes began in February with Morbid Angel and Motörhead in the U.S. The band filmed a live performance at the Hammersmith Apollo on 13 April 1994, which was released on VHS accompanied by a CD, titled Cross Purposes Live. After the European tour with Cathedral and Godspeed in June 1994, drummer Bobby Rondinelli quit the band and was replaced by original Black Sabbath drummer Ward for five shows in South America.
Following the touring cycle for Cross Purposes, bassist Geezer Butler quit the band for the second time. "I finally got totally disillusioned with the last Sabbath album, and I much preferred the stuff I was writing to the stuff Sabbath were doing". Butler formed a solo project called GZR, and released Plastic Planet in 1995. The album contained the song "Giving Up the Ghost", which was critical of Tony Iommi for carrying on with the Black Sabbath name, with the lyrics: You plagiarised and parodied / the magic of our meaning / a legend in your own mind / left all your friends behind / you can't admit that you're wrong / the spirit is dead and gone ("I heard it's something about me..." said Iommi. "I had the album given to me a while back. I played it once, then somebody else had it, so I haven't really paid any attention to the lyrics... It's nice to see him doing his own thing – getting things off his chest. I don't want to get into a rift with Geezer. He's still a friend."
Following Butler's departure, newly returned drummer Ward once again left the band. Iommi reinstated former members Neil Murray on bass and Cozy Powell on drums, effectively reuniting the 1990 Tyr line-up. The band enlisted Body Count guitarist Ernie C to produce the new album, which was recorded in London in autumn of 1994. The album featured a guest vocal on "Illusion of Power" by Body Count vocalist Ice-T. The resulting Forbidden was released on 8 June 1995, but failed to chart in the U.S. The album was widely panned by critics; AllMusic's Bradley Torreano said "with boring songs, awful production, and uninspired performances, this is easily avoidable for all but the most enthusiastic fan"; while Blender magazine called Forbidden "an embarrassment... the band's worst album".
Black Sabbath embarked on a world tour in July 1995 with openers Motörhead and Tiamat, but two months into the tour, drummer Cozy Powell left the band, citing health issues, and was replaced by former drummer Bobby Rondinelli. "The members I had in the last lineup – Bobby Rondinelli, Neil Murray – they're great, great characters..." Iommi told Sabbath fanzine Southern Cross. "That, for me, was an ideal lineup. I wasn't sure vocally what we should do, but Neil Murray and Bobby Rondinelli I really got on well with."
After completing Asian dates in December 1995, Tony Iommi put the band on hiatus, and began work on a solo album with former Black Sabbath vocalist Glenn Hughes, and former Judas Priest drummer Dave Holland. The album was not officially released following its completion, although a widely traded bootleg called Eighth Star surfaced soon after. The album was officially released in 2004 as The 1996 DEP Sessions, with Holland's drums re-recorded by session drummer Jimmy Copley.
In 1997, Tony Iommi disbanded the current line-up to officially reunite with Ozzy Osbourne and the original Black Sabbath line-up. Vocalist Tony Martin claimed that an original line-up reunion had been in the works since the band's brief reunion at Ozzy Osbourne's 1992 Costa Mesa show, and that the band released subsequent albums to fulfill their record contract with I.R.S. Records. Martin later recalled Forbidden (1995) as a "filler album that got the band out of the label deal, rid of the singer, and into the reunion. However I wasn't privy to that information at the time". I.R.S. Records released a compilation album in 1996 to fulfill the band's contract, titled The Sabbath Stones, which featured songs from Born Again (1983) to Forbidden (1995).
1997–2006: Osbourne rejoins and Reunion
In the summer of 1997, Iommi, Butler and Osbourne reunited to coheadline the Ozzfest tour alongside Osbourne's solo band. The line-up featured Osbourne's drummer Mike Bordin filling in for Ward. "It started off with me going off to join Ozzy for a couple of numbers," explained Iommi, "and then it got into Sabbath doing a short set, involving Geezer. And then it grew as it went on… We were concerned in case Bill couldn't make it – couldn't do it – because it was a lot of dates, and important dates… The only rehearsal that we had to do was for the drummer. But I think if Bill had come in, it would have took a lot more time. We would have had to focus a lot more on him."
In December 1997, the group was joined by Ward, marking the first reunion of the original quartet since Osbourne's 1992 "retirement show". This lineup recorded two shows at the Birmingham NEC, released as the double album Reunion on 20 October 1998. The album reached number eleven on the Billboard 200, went platinum in the U.S. and spawned the single "Iron Man", which won Sabbath their first Grammy Award in 2000 for Best Metal Performance, 30 years after the song was originally released. Reunion featured two new studio tracks, "Psycho Man" and "Selling My Soul", both of which cracked the top 20 of the Billboard Mainstream Rock Tracks chart.
Shortly before a European tour in the summer of 1998, Ward suffered a heart attack and was temporarily replaced by former drummer Vinny Appice. Ward returned for a U.S. tour with openers Pantera, which began in January 1999 and continued through the summer, headlining the annual Ozzfest tour. Following these appearances, the band was put on hiatus while members worked on solo material. Iommi released his first official solo album, Iommi, in 2000, while Osbourne continued work on Down to Earth (2001).
Sabbath returned to the studio to work on new material with all four original members and producer Rick Rubin in the spring of 2001, but the sessions were halted when Osbourne was called away to finish tracks for his solo album in the summer. "It just came to an end…" Iommi said. "It's a shame because [the songs] were really Iommi commented on the difficulty getting all the members together to work:
In March 2002, Osbourne's Emmy-winning reality show The Osbournes debuted on MTV, and quickly became a worldwide hit. The show introduced Osbourne to a broader audience and to capitalise, the band's back catalogue label, Sanctuary Records released a double live album Past Lives (2002), which featured concert material recorded in the 1970s, including the Live at Last (1980) album. The band remained on hiatus until the summer of 2004 when they returned to headline Ozzfest 2004 and 2005. In November 2005, Black Sabbath were inducted into the UK Music Hall of Fame, and in March 2006, after eleven years of eligibility—Osbourne famously refused the Hall's "meaningless" initial nomination in 1999—the band were inducted into the U.S. Rock and Roll Hall of Fame. At the awards ceremony Metallica played two Sabbath songs, "Hole in the Sky" and "Iron Man" in tribute.
2006–2010: The Dio Years and Heaven & Hell
While Ozzy Osbourne was working on new solo album material in 2006, Rhino Records released Black Sabbath: The Dio Years, a compilation of songs culled from the four Black Sabbath releases featuring Ronnie James Dio. For the release, Iommi, Butler, Dio, and Appice reunited to write and record three new songs as Black Sabbath. The Dio Years was released on 3 April 2007, reaching number 54 on the Billboard 200, while the single "The Devil Cried" reached number 37 on the Mainstream Rock Tracks chart. Pleased with the results, Iommi and Dio decided to reunite the Dio era line-up for a world tour. While the line-up of Osbourne, Butler, Iommi, and Ward was still officially called Black Sabbath, the new line-up opted to call themselves Heaven & Hell, after the album of the same title, to avoid confusion. When asked about the name of the group, Iommi stated "it really is Black Sabbath, whatever we do... so everyone knows what they're getting [and] so people won't expect to hear 'Iron Man' and all those songs. We've done them for so many years, it's nice to do just all the stuff we did with Ronnie again."
Ward was initially set to participate, but dropped out before the tour began due to musical differences with "a couple of the band members". He was replaced by former drummer Vinny Appice, effectively reuniting the line-up that had featured on the Mob Rules (1981) and Dehumanizer (1992) albums.
Heaven & Hell toured the U.S. with openers Megadeth and Machine Head, and recorded a live album and DVD in New York on 30 March 2007, titled Live from Radio City Music Hall. In November 2007, Dio confirmed that the band had plans to record a new studio album, which was recorded in the following year. In April 2008 the band announced the upcoming release of a new box set and their participation in the Metal Masters Tour, alongside Judas Priest, Motörhead and Testament. The box set, The Rules of Hell, featuring remastered versions of all the Dio fronted Black Sabbath albums, was supported by the Metal Masters Tour. In 2009, the band announced the title of their debut studio album, The Devil You Know, released on 28 April.
On 26 May 2009, Osbourne filed suit in a federal court in New York against Iommi alleging that he illegally claimed the band name. Iommi noted that he has been the only constant band member for its full 41-year career and that his bandmates relinquished their rights to the name in the 1980s, therefore claiming more rights to the name of the band. Although in the suit, Osbourne was seeking 50% ownership of the trademark, he said that he hoped the proceedings would lead to equal ownership among the four original members.
In March 2010, Black Sabbath announced that along with Metallica they would be releasing a limited edition single together to celebrate Record Store Day. It was released on 17 April 2010. Ronnie James Dio died on 16 May 2010 from stomach cancer. In June 2010, the legal battle between Ozzy Osbourne and Tony Iommi over the trademarking of the Black Sabbath name ended, but the terms of the settlement have not been disclosed.
2010–2014: Second Osbourne reunion and 13
In a January 2010 interview while promoting his biography I Am Ozzy, Osbourne stated that although he would not rule it out, he was doubtful there would be a reunion with all four original members of the band. Osbourne stated: "I'm not gonna say I've written it out forever, but right now I don't think there's any chance. But who knows what the future holds for me? If it's my destiny, fine." In July, Butler said that there would be no reunion in 2011, as Osbourne was already committed to touring with his solo band. However, by that August they had already met up to rehearse together, and continued to do so through the autumn.
On 11 November 2011, Iommi, Butler, Osbourne, and Ward announced that they were reuniting to record a new album with a full tour in support beginning in 2012. Guitarist Iommi was diagnosed with lymphoma on 9 January 2012, which forced the band to cancel all but two shows (Download Festival, and Lollapalooza Festival) of a previously booked European tour. It was later announced that an intimate show would be played in their hometown Birmingham. It was the first concert since the reunion and the only indoors concerts that year. In February 2012, drummer Ward announced that he would not participate further in the band's reunion until he was offered a "signable contract".
On 21 May 2012, at the O2 Academy in Birmingham, Black Sabbath played their first concert since 2005, with Tommy Clufetos playing the drums. In June, they performed at the Download Festival at the Donington Park motorsports circuit in Leicestershire, England, followed by the last concert of the short tour at Lollapalooza Festival in Chicago. Later that month, the band started recording an album.
On 13 January 2013, the band announced that the album would be released in June under the title 13. Brad Wilk of Rage Against the Machine was chosen as the drummer, and Rick Rubin was chosen as the producer. Mixing of the album commenced in February. On 12 April 2013, the band released the album's track listing. The standard version of the album features eight new tracks, and the deluxe version features three bonus tracks.
The band's first single from 13, "God Is Dead?", was released on 19 April 2013. On 20 April 2013, Black Sabbath commenced their first Australia/New Zealand tour in 40 years followed by a North American Tour in Summer 2013. The second single of the album, "End of the Beginning", debuted on 15 May in a CSI: Crime Scene Investigation episode, where all three members appeared. In June 2013, 13 topped both the UK Albums Chart and the U.S. Billboard 200, becoming their first album to reach number one on the latter chart. In 2014, Black Sabbath received their first Grammy Award since 2000 with "God Is Dead?" winning Best Metal Performance.
In July 2013, Black Sabbath embarked on a North American Tour (for the first time since July 2001), followed by a Latin American tour in October 2013. In November 2013, the band started their European tour which lasted until December 2013. In March and April 2014, they made 12 stops in North America (mostly in Canada) as the second leg of their North American Tour before embarking in June 2014 on the second leg of their European tour, which ended with a concert at London's Hyde Park.
2014–2017: Cancelled twentieth album, The End, and disbandment
On 29 September 2014, Osbourne told Metal Hammer that Black Sabbath would begin work on their twentieth studio album in early 2015 with producer Rick Rubin, followed by a final tour in 2016. In an April 2015 interview, however, Osbourne said that these plans "could change", and added, "We all live in different countries and some of them want to work and some of them don't want to, I believe. But we are going to do another tour together."
On 3 September 2015, it was announced that Black Sabbath would embark on their final tour, titled The End, from January 2016 to February 2017. Numerous dates and locations across the U.S., Canada, Europe, Australia and New Zealand were announced. The final shows of The End tour took place at the Genting Arena in their home city of Birmingham, England on 2 and 4 February 2017. On 26 October 2015, it was announced the band consisting of Osbourne, Iommi and Butler would be returning to the Download Festival on 11 June 2016. Despite earlier reports that they would enter the studio before their farewell tour, Osbourne stated that there would not be another Black Sabbath studio album. However, an 8-track CD entitled The End was sold at dates on the tour. Along with some live recordings, the CD includes four unused tracks from the 13 sessions.
On 4 March 2016, Iommi discussed future re-releases of the Tony Martin-era catalogue: "We've held back on the reissues of those albums because of the current Sabbath thing with Ozzy Osbourne, but they will certainly be happening... I'd like to do a couple of new tracks for those releases with Tony Martin... I'll also be looking at working on Cross Purposes and Forbidden." Martin had suggested that this could coincide with the 30th anniversary of The Eternal Idol, in 2017. In an interview that August, Martin added "[Iommi] still has his cancer issues of course and that may well stop it all from happening but if he wants to do something I am ready." On 10 August 2016, Iommi revealed that his cancer was in remission.
Asked in November 2016 about his plans after Black Sabbath's final tour, Iommi replied, "I'll be doing some writing. Maybe I'll be doing something with the guys, maybe in the studio, but no touring." The band played their final concert on 4 February 2017 in Birmingham. The final song was streamed live on the band's Facebook page and fireworks went off as the band took their final bow. The band's final tour was not an easy one, as longstanding tensions between Osbourne and Iommi returned to the surface. Iommi stated that he would not rule out the possibility of one-off shows, "I wouldn't write that off, if one day that came about. That's possible. Or even doing an album, 'cause then, again, you're in one place. But I don't know if that would happen." In an April 2017 interview, Butler revealed that Black Sabbath considered making a blues album as the follow-up to 13, but added that, "the tour got in the way."
On 7 March 2017, Black Sabbath announced their disbandment through posts made on their official social media accounts.
2017–present: Aftermath
In a June 2018 interview with ITV News, Osbourne expressed interest in reuniting with Black Sabbath for a performance at the 2022 Commonwealth Games which is due to be held in their home city Birmingham. Iommi said that performing at the event as Black Sabbath would be "a great thing to do to help represent Birmingham. I'm up for it. Let's see what happens." He also did not rule out the possibility for the band to reform only for a one-off performance rather than a full-length tour.
In September 2020, Osbourne stated in an interview that he was no longer interested in a reunion: "Not for me. It's done. The only thing I do regret is not doing the last farewell show in Birmingham with Bill Ward. I felt really bad about that. It would have been so nice. I don't know what the circumstances behind it were, but it would have been nice. I've talked to Tony a few times, but I don't have any of the slightest interest in doing another gig. Maybe Tony's getting bored now." Butler also ruled out the possibility of any future Black Sabbath performances in an interview with Eonmusic on 10 November 2020, stating that the band is over: "There will definitely be no more Sabbath. It's done." Iommi however, pondered the possibility of another reunion tour in an interview with The Mercury News, stating that he "would like to play with the guys again" and that he misses the audiences and stage. Bill Ward stated in an interview with Eddie Trunk that he no longer has the ability or chops to perform with Black Sabbath in concert, but expressed that he would love to make another album with Osbourne, Butler and Iommi.
Despite ruling out the possibility of another Black Sabbath reunion, Osbourne revealed in an episode of Ozzy Speaks on Ozzy's Boneyard that he is working with Iommi, who will appear as one of the guests for his upcoming thirteenth solo album. In an October 2021 interview with the Metro, Ward revealed that he has kept "in contact" with his former bandmates and stated that he is "very open-minded" to the possibility of recording another Black Sabbath album: "I haven't spoken to the guys about it, but I have talked to a couple of people in management about the possibility of making a recording."
On 30 September 2020, Black Sabbath announced a new Dr. Martens shoe collection. The partnership with the British footwear company celebrated the 50th anniversaries of the band's Black Sabbath and Paranoid albums, with the boots depicting artwork from the former. On 13 January 2021, the band announced that they would reissue both Heaven & Hell and Mob Rules as expanded deluxe editions on 5 March 2021, with unreleased material included.
Musical style
Black Sabbath were a heavy metal band, whose music has also been described as psychedelic rock, and acid rock. The band have also been cited as a key influence on genres including stoner rock, grunge, doom metal, and sludge metal. Early on, Black Sabbath were influenced by Cream, The Beatles, Fleetwood Mac, Jimi Hendrix, John Mayall & the Bluesbreakers, Blue Cheer, Led Zeppelin, and Jethro Tull.
Although Black Sabbath went through many line-ups and stylistic changes, their core sound focuses on ominous lyrics and doomy music, often making use of the musical tritone, also called the "devil's interval". While their Ozzy-era albums such as Sabbath Bloody Sabbath (1973) had slight compositional similarities to the progressive rock genre that was growing in popularity at the time, standing in stark contrast to popular music of the early 1970s, Black Sabbath's dark sound was dismissed by rock critics of the era. Much like many of their early heavy metal contemporaries, the band received virtually no airplay on rock radio.
As the band's primary songwriter, Tony Iommi wrote the majority of Black Sabbath's music, while Osbourne would write vocal melodies, and bassist Geezer Butler would write lyrics. The process was sometimes frustrating for Iommi, who often felt pressured to come up with new material: "If I didn't come up with anything, nobody would do anything." On Iommi's influence, Osbourne later said:
Beginning with their third album, Master of Reality (1971), Black Sabbath began to feature tuned-down guitars. In 1965, before forming Black Sabbath, guitarist Tony Iommi suffered an accident while working in a sheet metal factory, losing the tips of two fingers on his right hand. Iommi almost gave up music, but was urged by the factory manager to listen to Django Reinhardt, a jazz guitarist who lost the use of two fingers in a fire. Inspired by Reinhardt, Iommi created two thimbles made of plastic and leather to cap off his missing fingertips. The guitarist began using lighter strings, and detuning his guitar, to better grip the strings with his prosthesis. Early in the band's history Iommi experimented with different dropped tunings, including C tuning, or 3 semitones down, before settling on E/D tuning, or a half-step down from standard tuning.
Legacy
Black Sabbath has sold over 70 million records worldwide, including a RIAA-certified 15 million in the U.S. They are one of the most influential heavy metal bands of all time. The band helped to create the genre with ground-breaking releases such as Paranoid (1970), an album that Rolling Stone magazine said "changed music forever", and called the band "the Beatles of heavy metal". Time magazine called Paranoid "the birthplace of heavy metal", placing it in their Top 100 Albums of All Time.
MTV placed Black Sabbath at number one on their Top Ten Heavy Metal Bands and VH1 placed them at number two on their list of the 100 Greatest Artists of Hard Rock. VH1 ranked Black Sabbath's "Iron Man" the number one song on their 40 Greatest Metal Songs countdown. Rolling Stone magazine ranked the band number 85 in their list of the "100 Greatest Artists of All Time". AllMusic's William Ruhlmann said:
According to Rolling Stone Holly George-Warren, "Black Sabbath was the heavy metal king of the 1970s." Although initially "despised by rock critics and ignored by radio programmers", the group sold more than 8 million albums by the end of that decade. "The heavy metal band…" marvelled Ronnie James Dio. "A band that didn't apologise for coming to town; it just stepped on buildings when it came to town."
Influence and innovation
Black Sabbath have influenced many acts including Judas Priest, Iron Maiden, Diamond Head, Slayer, Metallica, Nirvana, Korn, Black Flag, Mayhem, Venom, Guns N' Roses, Soundgarden, Body Count, Alice in Chains, Anthrax, Disturbed, Death, Opeth, Pantera, Megadeth, the Smashing Pumpkins, Slipknot, Foo Fighters, Fear Factory, Candlemass, Godsmack, and Van Halen. Two gold selling tribute albums have been released, Nativity in Black Volume 1 & 2, including covers by Sepultura, White Zombie, Type O Negative, Faith No More, Machine Head, Primus, System of a Down, and Monster Magnet.
Metallica's Lars Ulrich, who, along with bandmate James Hetfield inducted Black Sabbath into the Rock and Roll Hall of Fame in 2006, said "Black Sabbath is and always will be synonymous with heavy metal", while Hetfield said "Sabbath got me started on all that evil-sounding shit, and it's stuck with me. Tony Iommi is the king of the heavy riff." Guns N' Roses guitarist Slash said of the Paranoid album: "There's just something about that whole record that, when you're a kid and you're turned onto it, it's like a whole different world. It just opens up your mind to another dimension...Paranoid is the whole Sabbath experience; very indicative of what Sabbath meant at the time. Tony's playing style—doesn't matter whether it's off Paranoid or if it's off Heaven and Hell—it's very distinctive." Anthrax guitarist Scott Ian said "I always get the question in every interview I do, 'What are your top five metal albums?' I make it easy for myself and always say the first five Sabbath albums."
Lamb of God's Chris Adler said: "If anybody who plays heavy metal says that they weren't influenced by Black Sabbath's music, then I think that they're lying to you. I think all heavy metal music was, in some way, influenced by what Black Sabbath did." Judas Priest vocalist Rob Halford commented: "They were and still are a groundbreaking band...you can put on the first Black Sabbath album and it still sounds as fresh today as it did 30-odd years ago. And that's because great music has a timeless ability: To me, Sabbath are in the same league as the Beatles or Mozart. They're on the leading edge of something extraordinary." On Black Sabbath's standing, Rage Against the Machine guitarist Tom Morello states: "The heaviest, scariest, coolest riffs and the apocalyptic Ozzy wail are without peer. You can hear the despair and menace of the working-class Birmingham streets they came from in every kick-ass, evil groove. Their arrival ground hippy, flower-power psychedelia to a pulp and set the standard for all heavy bands to come." Phil Anselmo of Pantera and Down stated that "Only a fool would leave out what Black Sabbath brought to the heavy metal genre".
According to Tracii Guns of L.A. Guns and former member of Guns N' Roses, the main riff of "Paradise City" by Guns N' Roses, from Appetite for Destruction (1987), was influenced by the song "Zero the Hero" from the Born Again album. King Diamond guitarist Andy LaRocque affirmed that the clean guitar part of "Sleepless Nights" from Conspiracy (1989) is inspired by Tony Iommi's playing on Never Say Die!.
In addition to being pioneers of heavy metal, they also have been credited for laying the foundations for heavy metal subgenres stoner rock, sludge metal, thrash metal, black metal and doom metal as well as for alternative rock subgenre grunge. According to the critic Bob Gulla, the band's sound "shows up in virtually all of grunge's most popular bands, including Nirvana, Soundgarden, and Alice in Chains".
Tony Iommi has been credited as the pioneer of lighter gauge guitar strings. The tips of his fingers were severed in a steel factory, and while using thimbles (artificial finger tips) he found that standard guitar strings were too difficult to bend and play. He found that there was only one size of strings available, so after years with Sabbath he had strings custom made.
Culturally, Black Sabbath have exerted a huge influence in both television and literature and have in many cases become synonymous with heavy metal. In the film Almost Famous, Lester Bangs gives the protagonist an assignment to cover the band (plot point one) with the immortal line: 'Give me 500 words on Black Sabbath'. Contemporary music and arts publication Trebuchet Magazine has put this to practice by asking all new writers to write a short piece (500 words) on Black Sabbath as a means of proving their creativity and voice on a well documented subject.
Band members
Original lineup
Tony Iommi – guitars
Bill Ward – drums
Geezer Butler – bass
Ozzy Osbourne – vocals, harmonica
Discography
Black Sabbath (1970)
Paranoid (1970)
Master of Reality (1971)
Vol. 4 (1972)
Sabbath Bloody Sabbath (1973)
Sabotage (1975)
Technical Ecstasy (1976)
Never Say Die! (1978)
Heaven and Hell (1980)
Mob Rules (1981)
Born Again (1983)
Seventh Star (1986)
The Eternal Idol (1987)
Headless Cross (1989)
Tyr (1990)
Dehumanizer (1992)
Cross Purposes (1994)
Forbidden (1995)
13'' (2013)
Tours
Polka Tulk Blues/Earth Tour 1968–1969
Black Sabbath Tour 1970
Paranoid Tour 1970–1971
Master of Reality Tour 1971–1972
Vol. 4 Tour 1972–1973
Sabbath Bloody Sabbath Tour 1973–1974
Sabotage Tour 1975–1976
Technical Ecstasy Tour 1976–1977
Never Say Die! Tour 1978
Heaven & Hell Tour 1980–1981
Mob Rules Tour 1981–1982
Born Again Tour 1983
Seventh Star Tour 1986
Eternal Idol Tour 1987
Headless Cross Tour 1989
Tyr Tour 1990
Dehumanizer Tour 1992
Cross Purposes Tour 1994
Forbidden Tour 1995
Ozzfest Tour 1997
European Tour 1998
Reunion Tour 1998–1999
Ozzfest Tour 1999
U.S. Tour 1999
European Tour 1999
Ozzfest Tour 2001
Ozzfest Tour 2004
European Tour 2005
Ozzfest Tour 2005
Black Sabbath Reunion Tour, 2012–2014
The End Tour 2016–2017
See also
List of cover versions of Black Sabbath songs
Heavy metal groups
References
Sources
External links
Black Sabbath biography by James Christopher Monger, discography and album reviews, credits & releases at AllMusic
Black Sabbath discography, album releases & credits at Discogs.com
Musical groups established in 1968
Musical groups disestablished in 2006
Musical groups reestablished in 2011
Musical groups disestablished in 2017
English heavy metal musical groups
Grammy Lifetime Achievement Award winners
1968 establishments in England
2017 disestablishments in England
Kerrang! Awards winners
I.R.S. Records artists
Vertigo Records artists
Musical groups from Birmingham, West Midlands
Musical quartets
| false |
[
"Black Sabbath were an English heavy metal band from Aston, Birmingham. Formed in September 1968 under the initial name Earth, the group's first lineup included vocalist Ozzy Osbourne, guitarist Tony Iommi, bassist Geezer Butler and drummer Bill Ward. They changed their name to Black Sabbath in August 1969 and the lineup remained stable until April 1979, when Osbourne was fired. Subsequently, the band went through numerous personnel changes over the years, with Iommi remaining the only constant member. The original lineup reunited in 2011, although Ward soon exited and was replaced on tour by Tommy Clufetos until the band's retirement in 2017.\n\nIn 2006 Ronnie James Dio, Iommi, Butler, and Ward reunited as Heaven & Hell, a band which focused on performing Dio-era Black Sabbath music. The new name was intended to differentiate between the Osbourne and Dio-era lineups. Ward was soon replaced by Vinny Appice. Heaven & Hell released one studio album, The Devil You Know, before Dio died of stomach cancer on 16 May 2010.\n\nHistory\n\n1968–1985\nBlack Sabbath formed in 1968, taking members from two other local bands – guitarist Tony Iommi and drummer Bill Ward from Mythology, and vocalist Ozzy Osbourne and bassist Geezer Butler from Rare Breed. Initially known as The Polka Tulk Blues Band, the group's name was changed in September 1968 to Earth, before they became Black Sabbath in August 1969 after being confused with another British act of the same name. After seven commercially and critically successful albums, Osbourne left abruptly in September 1977 to pursue a solo career. He was replaced by Dave Walker, although by the following January he had returned to the band. After one more album, Never Say Die!, Osbourne was fired on 27 April 1979, due to his reliance on alcohol and drugs, and his reluctance to work on a new album.\n\nOsbourne was replaced by former Rainbow vocalist Ronnie James Dio in June 1979. Butler chose to leave shortly after his arrival, with Geoff Nicholls taking his place in mid-July before Dio's former bandmate Craig Gruber joined and Nicholls moved to keyboards and guitar. Recording began with Gruber, but Butler returned in November and performed all bass parts on Heaven and Hell. Ward abruptly left partway through the album's promotional tour after a show on 19 August 1980, with Vinny Appice enlisted to take his place from 31 August. In November 1982, after disagreements over the mixing of Live Evil, Dio and Appice left Black Sabbath and formed Dio together. The following February, the band replaced Dio with former Deep Purple frontman Ian Gillan, and brought back original drummer Ward.\n\nAfter recording Born Again, Ward was forced to leave again in the summer of 1983 due to his continuing problems with alcohol abuse. He was replaced for the Born Again Tour by Electric Light Orchestra drummer Bev Bevan. Gillan departed after the tour. He was briefly replaced by former Steeler vocalist Ron Keel, although this was short-lived due to disagreements between the band and their new producer Spencer Proffer, which saw plans for a new album fall through. After Keel, a newly sober Ward returned to the band and they briefly worked with David \"Donut\" Donato on vocals. However, this also failed to result in a new album or tour dates, Butler left in response to the personnel changes, and the band remained inactive until the following year. Iommi subsequently began working on a planned solo album in early 1985.\n\n1985–1997\nFor his planned solo album, Iommi began working with bassist Gordon Copley and drummer Eric Singer, then members of Lita Ford's backing band (Iommi's fiancée at the time). After a few months, Copley returned to working with Ford, and Dave Spitz was brought in as his replacement. On 13 July 1985, the original lineup of Black Sabbath reunited for a one-off appearance at Live Aid, performing the songs \"Children of the Grave\", \"Iron Man\" and \"Paranoid\". Iommi then returned to working on his solo album, for which he enlisted former Trapeze and Deep Purple vocalist Glenn Hughes in July. However, after pressure from his American record label Warner Bros. Records, Iommi was forced to credit Seventh Star to \"Black Sabbath featuring Tony Iommi\" upon its release in January 1986.\n\nReturning on the Seventh Star Tour under the original moniker, the band were forced into another change of vocalist on 26 March 1986, when Hughes suffered an injury in a fight with manager John Downey which left him unable to sing. He was replaced by Ray Gillen, who debuted on 29 March. During the production of their next album, The Eternal Idol, the lineup of Black Sabbath changed multiple times – first, Bob Daisley replaced Spitz on 30 September 1986, before leaving on 11 November after completing his bass parts; next, Singer left on 1 January 1987, with his drum parts completed; and finally, Tony Martin replaced Gillen on 1 March. Around the time of Martin's arrival, Bevan also returned to the band. Preparing for shows in July, the band briefly rehearsed with original bassist Butler, although within a few days he had left again and Spitz was brought back in his place. Bevan left after one show, objecting to upcoming dates at Sun City, South Africa, and was replaced for the shows by Terry Chimes.\n\nAfter the Sun City shows, Spitz left the band again on 15 August 1987; he was later replaced by Jo Burt on 1 October. Burt remained a member early the next year, but had left by the time the band played a charity show on 29 May 1988, at which Nicholls filled in on bass. By August, the band had started work on new album Headless Cross with drummer Cozy Powell and session bassist Laurence Cottle. Butler was slated to return for the subsequent touring cycle, but he ultimately joined Osbourne's solo band and instead Neil Murray was hired in May 1989. This lineup remained stable for more than a year, releasing Tyr in 1990 and touring until the end of the year.\n\nAfter the tour in promotion of Tyr, Butler returned to the band. Despite rumours of an original reunion lineup, it was Dio who took over from Martin on vocals in January 1991. Within a few months, however, Martin was reinstated after Dio and Iommi disagreed over the vocalist's desire to bring back Vinny Appice and reunite the Mob Rules lineup. Dio eventually did return with Appice later in the year, replacing Martin and Cozy Powell respectively, and the lineup released Dehumanizer in 1992. At the end of the resulting tour, however, Dio left after refusing to perform at two shows in November supporting original vocalist Osbourne, who had announced his retirement. Rob Halford, who had recently left Judas Priest, filled in for the dates. After the original lineup reunited onstage at the second show for four songs, plans were set for a full reformation with Osbourne and Ward the next year.\n\nThe reunion with Osbourne and Ward ultimately fell through, and in early 1993 the band brought back Martin as frontman. With Appice also gone after the Dehumanizer Tour, the band auditioned drummers and hired Bobby Rondinelli in March. Cross Purposes was released and promoted on a short concert tour in 1994, after which Butler left the band again. Rondinelli was replaced by Ward for the final leg of the tour in South America, but the drummer chose to leave again when Butler departed. Butler and Ward were replaced by returning members Murray and Powell, respectively, marking a reunion of the Tyr lineup. The band toured in promotion of new album Forbidden in 1995, although Powell was replaced by Rondinelli partway through the tour in August. After the conclusion of the tour, Black Sabbath went on hiatus during 1996 as Iommi began work on a new solo album.\n\n1997–2017\nIn March 1997, the long-awaited reunion of Osbourne, Iommi and Butler was announced for the Ozzfest tour, starting in May. Ward, however, was not invited to join; his place was instead taken by Faith No More drummer Mike Bordin. For a rescheduled show on 1 July, Shannon Larkin of Godsmack took over from Bordin, who was unavailable. Ward eventually returned in November for a pair of shows the following month, which were recorded and released alongside two new studio tracks on Reunion in 1998. A short European tour was scheduled for June 1998, however just before it began Ward suffered a minor heart attack. Appice was brought in to replace him for the shows. Ward returned later in the year, with a tour in support of Reunion taking place in 1999. After another hiatus while members worked on solo projects, Sabbath joined Ozzfest again in 2001, although a later tour was cancelled when Osbourne was ordered by his label Epic Records to complete work on his new album Down to Earth.\n\nAfter another hiatus, Black Sabbath returned in 2004 with new touring keyboardist Adam Wakeman. Halford reprised his role as substitute vocalist for a show on 26 August, after Osbourne was unable to sing due to bronchitis. More tour dates followed in 2005, including another appearance on the Ozzfest tour, before Iommi began working with Dio in early 2006 on new tracks for an upcoming compilation titled The Dio Years. Butler and Ward were initially named as the rhythm section completing the project. At Iommi's behest, the group rebranded themselves as Heaven & Hell to differentiate this incarnation from the Osbourne-fronted Black Sabbath which was then only on a hiatus.\nWard, would later decline to be the band's drummer before they recorded, citing musical differences. By December, the reunion had evolved into a full reformation of the Mob Rules lineup of the band with Appice taking over Ward's duties (without Nicholls), with the moniker Heaven & Hell adopted accordingly. During this time, the official lineup of Black Sabbath continued to be Osbourne, Iommi, Butler and Ward, as it was assured by representatives of the band that Heaven & Hell was a separate project.\n\nHeaven & Hell released their only studio album, The Devil You Know, and remained active until Dio died of stomach cancer on 16 May 2010. On 11 November 2011, the original lineup announced at a press conference that they would be reuniting for their first studio album since 1978, as well as an accompanying concert tour. However, on 3 February 2012, Ward announced that he would not be joining his bandmates unless he received a \"signable contract ... that reflects some dignity and respect toward me as an original member of the band\". The drummer confirmed his departure in May, after failing to reach an agreement that suited him. Five days after the announcement, the band played their first live show since 2005 in Birmingham, with Tommy Clufetos – the drummer in Osbourne's solo band – in place of Ward.\n\nFormer Rage Against the Machine and Audioslave drummer Brad Wilk was enlisted to perform on new album 13, which was released in June 2013. Clufetos remained for the album's promotional touring cycle. On 3 September 2015, it was announced that the band would embark on a tour dubbed The End throughout 2016 and 2017, which would serve as their \"farewell tour\". Another studio album was initially announced in 2014, however this was later scrapped. The final studio recordings released by the band were four outtakes from the 13 sessions, which were issued alongside four live recordings on the EP The End in January 2016. The final Black Sabbath show took place on 4 February 2017 at the Genting Arena in Birmingham, which was recorded for The End of the End documentary film and The End: Live in Birmingham album and video release. On 7 March 2017, Black Sabbath's disbandment was officially confirmed.\n\nBand members\n\nOfficial\n\nTouring\n\nOther contributors\n\nSession\n\nTouring\n\nTimeline\n\nLineups\n\nBibliography\n\nReferences\n\nExternal links\nBlack Sabbath official website\n\nBlack Sabbath",
"Tony Destra (September 20, 1954 – February 8, 1987), was an American drummer who played for the glam metal bands Cinderella and Britny Fox. Before Cinderella or Britny Fox, Tony was the drummer for another popular Philadelphia area band called Enforcer. The singer for Enforcer was Bill Mattson who would gain later recognition as the frontman for Tangier. Tony played on Cinderella's indy 45 of \"Shake Me\" and \"Somebody Save Me\". After he left Cinderella, he joined Britny Fox in 1985. He played on the Britny Fox demo In America in 1986. Tony died in a car accident on February 8, 1987.\n\nIn Cinderella, he was replaced by drummer Jim Drnec. In Britny Fox he was replaced by drummer Adam F Ferraioli who was then himself replaced by long-term drummer Johnny Dee.\n\nDiscography\n\nWith Cinderella\nDemos\n\nWith Britny Fox\nIn America (demo) (1986)\n\nReferences\n\n1954 births\n1987 deaths\nRoad incident deaths in Pennsylvania\nAmerican rock drummers\nGlam metal musicians\nCinderella (band) members\nBritny Fox members\n20th-century American drummers\nAmerican male drummers\n20th-century American male musicians"
] |
[
"Black Sabbath",
"Born Again (1983-1984)",
"Is Born Again the name of a Black Sabbath album?",
"Born Again (7 August 1983) was panned upon release by critics. Despite the negative reception of the album,",
"What is a single from the album?",
"The band headlined the 1983 Reading Festival in England, adding the Deep Purple song \"Smoke on the Water\" to their set list.",
"How did Born Again do on the music charts?",
"Despite the negative reception of the album, it reached number four on the UK charts, and number 39 in the U.S.",
"Why did the critics have a negative reception of the album?",
"I don't know.",
"Did the band tour for this album?",
"Although he performed on the album, drummer Ward was unable to tour because of the pressures of the road, and quit the band",
"Was Ward replaced by another drummer?",
"Ward was replaced by former Electric Light Orchestra drummer Bev Bevan for the Born Again '83 -'84 world tour,"
] |
C_33cdd6eae6294662ac88929b38897497_1
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Did the band tour with any other bands?
| 7 |
Did Black Sabbath tour with any other bands besides Electric Light Orchestra's drummer Bev Bevan?
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Black Sabbath
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The remaining two original members, Tony Iommi and Geezer Butler, began auditioning new singers for the band's next release. Samson's Nicky Moore, and Lone Star's John Sloman were considered and Iommi states in his autobiography that Michael Bolton auditioned for the band. The band settled on former Deep Purple vocalist Ian Gillan to replace Ronnie James Dio in December 1982. While the project was not initially set to be called Black Sabbath, pressures from the record label forced the group to retain the name. The band entered The Manor Studios in Shipton-on-Cherwell, Oxfordshire, in June 1983 with a returned and newly sober Bill Ward on drums. Born Again (7 August 1983) was panned upon release by critics. Despite the negative reception of the album, it reached number four on the UK charts, and number 39 in the U.S. Even a decade after its release AllMusic's Eduardo Rivadavia called the album "dreadful", noting that "Gillan's bluesy style and humorous lyrics were completely incompatible with the lords of doom and gloom". Although he performed on the album, drummer Ward was unable to tour because of the pressures of the road, and quit the band after the commencement of the Born Again album. "I fell apart with the idea of touring", Ward later said. "I got so much fear behind touring, I didn't talk about the fear, I drank behind the fear instead and that was a big mistake." Ward was replaced by former Electric Light Orchestra drummer Bev Bevan for the Born Again '83 -'84 world tour, (often unofficially referred to as the 'Feigh Death Sabbath '83 - '84' World Tour) which began in Europe with Diamond Head, and later in the U.S. with Quiet Riot and Night Ranger. The band headlined the 1983 Reading Festival in England, adding the Deep Purple song "Smoke on the Water" to their set list. The tour in support of Born Again included a giant set of the Stonehenge monument. In a move that would be later parodied in the mockumentary This Is Spinal Tap, the band made a mistake in ordering the set piece. As Geezer Butler later explained: We had Sharon Osbourne's dad, Don Arden, managing us. He came up with the idea of having the stage set be Stonehenge. He wrote the dimensions down and gave it to our tour manager. He wrote it down in metres but he meant to write it down in feet. The people who made it saw fifteen metres instead of fifteen feet. It was 45 feet high and it wouldn't fit on any stage anywhere so we just had to leave it in the storage area. It cost a fortune to make but there was not a building on earth that you could fit it into. CANNOTANSWER
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) which began in Europe with Diamond Head, and later in the U.S. with Quiet Riot and Night Ranger.
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Black Sabbath were an English rock band formed in Birmingham in 1968 by guitarist Tony Iommi, drummer Bill Ward, bassist Geezer Butler and vocalist Ozzy Osbourne. They are often cited as pioneers of heavy metal music. The band helped define the genre with releases such as Black Sabbath (1970), Paranoid (1970), and Master of Reality (1971). The band had multiple line-up changes following Osbourne's departure in 1979, with Iommi being the only constant member throughout its history.
After previous iterations of the group called the Polka Tulk Blues Band and Earth, the band settled on the name Black Sabbath in 1969. They distinguished themselves through occult themes with horror-inspired lyrics and down-tuned guitars. Signing to Philips Records in November 1969, they released their first single, "Evil Woman" in January 1970. Their debut album, Black Sabbath, was released the following month. Though it received a negative critical response, the album was a commercial success, leading to a follow-up record, Paranoid, later that year. The band's popularity grew, and by 1973's Sabbath Bloody Sabbath, critics were starting to respond favourably.
Osbourne's excessive substance abuse led to his firing in 1979. He was replaced by former Rainbow vocalist Ronnie James Dio. Following two albums with Dio, Black Sabbath endured many personnel changes in the 1980s and 1990s that included vocalists Ian Gillan, Glenn Hughes, Ray Gillen and Tony Martin, as well as several drummers and bassists. Martin, who replaced Gillen in 1987, was the second longest serving vocalist and recorded three albums with Black Sabbath before his dismissal in 1991. That same year, Iommi and Butler were rejoined by Dio and drummer Vinny Appice to record Dehumanizer (1992). After two more studio albums with Martin, who replaced Dio in 1993, the band's original line-up reunited in 1997 and released a live album Reunion the following year; they continued to tour occasionally until 2005. Other than various back catalogue reissues and compilation albums, as well as the Mob Rules-era lineup reunited as Heaven & Hell, there was no further activity under the Black Sabbath name for six years. They reunited in 2011 and released their final studio album and nineteenth overall, 13 (2013), which features all of the original members except Ward. During their farewell tour, the band played their final concert in their home city of Birmingham on 4 February 2017.
Black Sabbath have sold over 70 million records worldwide as of 2013, making them one of the most commercially successful heavy metal bands. They were ranked by MTV as the "Greatest Metal Band" of all time, and placed second in VH1's "100 Greatest Artists of Hard Rock" list. Rolling Stone magazine ranked them number 85 on their "100 Greatest Artists of All Time". Black Sabbath were inducted into the UK Music Hall of Fame in 2005 and the Rock and Roll Hall of Fame in 2006. They have also won two Grammy Awards for Best Metal Performance, and in 2019 the band were presented a Grammy Lifetime Achievement Award.
History
1968–1969: Formation and early days
Following the break-up of their previous band Mythology in 1968, guitarist Tony Iommi and drummer Bill Ward sought to form a heavy blues rock band in Aston, Birmingham. They enlisted bassist Geezer Butler and vocalist Ozzy Osbourne, who had played together in a band called Rare Breed, Osbourne having placed an advertisement in a local music shop: "OZZY ZIG Needs Gig – has own PA". The new group was initially named the Polka Tulk Blues Band, the name taken either from a brand of talcum powder or an Indian/Pakistani clothing shop; the exact origin is confused. The Polka Tulk Blues Band included slide guitarist Jimmy Phillips, a childhood friend of Osbourne's, and saxophonist Alan "Aker" Clarke. After shortening the name to Polka Tulk, the band again changed their name to Earth (which Osbourne hated) and continued as a four-piece without Phillips and Clarke. Iommi became concerned that Phillips and Clarke lacked the necessary dedication and were not taking the band seriously. Rather than asking them to leave, they instead decided to break up and then quietly reformed the band as a four-piece. While the band was performing under the Earth title, they recorded several demos written by Norman Haines such as "The Rebel", "Song for Jim", and "When I Came Down". The demo titled "Song for Jim" was in reference to Jim Simpson. Simpson was a manager for the bands Bakerloo Blues Line and Tea & Symphony, as well as being trumpet player for the group Locomotive. Simpson had recently started a new club named Henry's Blueshouse at The Crown Hotel in Birmingham and offered to let Earth play there after they agreed to waive the usual support band fee in return for free t-shirts. The audience response was positive and Simpson agreed to manage Earth.
In December 1968, Iommi abruptly left Earth to join Jethro Tull. Although his stint with the band would be short-lived, Iommi made an appearance with Jethro Tull on The Rolling Stones Rock and Roll Circus TV show. Unsatisfied with the direction of Jethro Tull, Iommi returned to Earth by the end of the month. "It just wasn't right, so I left", Iommi said. "At first I thought Tull were great, but I didn't much go for having a leader in the band, which was Ian Anderson's way. When I came back from Tull, I came back with a new attitude altogether. They taught me that to get on, you got to work for it."
While playing shows in England in 1969, the band discovered they were being mistaken for another English group named Earth. They decided to change their name again. A cinema across the street from the band's rehearsal room was showing the 1963 horror film Black Sabbath starring Boris Karloff and directed by Mario Bava. While watching people line up to see the film, Butler noted that it was "strange that people spend so much money to see scary movies". Following that, Osbourne and Butler wrote the lyrics for a song called "Black Sabbath", which was inspired by the work of horror and adventure-story writer Dennis Wheatley, along with a vision that Butler had of a black silhouetted figure standing at the foot of his bed. Making use of the musical tritone, also known as "the Devil's Interval", the song's ominous sound and dark lyrics pushed the band in a darker direction, a stark contrast to the popular music of the late 1960s, which was dominated by flower power, folk music, and hippie culture. Judas Priest frontman Rob Halford has called the track "probably the most evil song ever written". Inspired by the new sound, the band changed their name to Black Sabbath in August 1969, and made the decision to focus on writing similar material, in an attempt to create the musical equivalent of horror films.
1969–1971: Black Sabbath and Paranoid
The band's first show as Black Sabbath took place on 30 August 1969, in Workington, England. They were signed to Philips Records in November 1969, and released their first single, "Evil Woman" (a cover of a song by the band Crow), recorded at Trident Studios, through Philips subsidiary Fontana Records in January 1970. Later releases were handled by Philips' newly formed progressive rock label, Vertigo Records.
Black Sabbath's first major exposure came when the band appeared on John Peel's Top Gear radio show in 1969, performing "Black Sabbath", "N.I.B.", "Behind the Wall of Sleep", and "Sleeping Village" to a national audience in Great Britain shortly before recording of their first album commenced. Although the "Evil Woman" single failed to chart, the band were afforded two days of studio time in November to record their debut album with producer Rodger Bain. Iommi recalls recording live: "We thought 'We have two days to do it and one of the days is mixing.' So we played live. Ozzy was singing at the same time, we just put him in a separate booth and off we went. We never had a second run of most of the stuff."
Black Sabbath was released on Friday the 13th, February 1970, and reached number 8 in the UK Albums Chart. Following its U.S. and Canadian release in May 1970 by Warner Bros. Records, the album reached number 23 on the Billboard 200, where it remained for over a year. The album was given negative reviews by many critics. Lester Bangs dismissed it in a Rolling Stone review as "discordant jams with bass and guitar reeling like velocitised speedfreaks all over each other's musical perimeters, yet never quite finding synch". It sold in substantial numbers despite being panned, giving the band their first mainstream exposure. It has since been certified platinum in both U.S. by the Recording Industry Association of America (RIAA) and in the UK by British Phonographic Industry (BPI), and is now generally accepted as the first heavy metal album.
The band returned to the studio in June 1970, just four months after Black Sabbath was released. The new album was initially set to be named War Pigs after the song "War Pigs", which was critical of the Vietnam War; however, Warner changed the title of the album to Paranoid. The album's lead-off single, "Paranoid", was written in the studio at the last minute. Ward explains: "We didn't have enough songs for the album, and Tony just played the [Paranoid] guitar lick and that was it. It took twenty, twenty-five minutes from top to bottom." The single was released in September 1970 and reached number four on the UK Singles Chart, remaining Black Sabbath's only top ten hit. The album followed in the UK in October 1970, where, pushed by the success of the "Paranoid" single, it made number one in the UK Albums Chart.
The U.S. release was held off until January 1971, as the Black Sabbath album was still on the chart at the time of Paranoids UK release. The album reached No. 12 in the U.S. in March 1971, and would go on to sell four million copies in the U.S., with virtually no radio airplay. Like Black Sabbath, the album was panned by rock critics of the era, but modern-day reviewers such as AllMusic's Steve Huey cite Paranoid as "one of the greatest and most influential heavy metal albums of all time", which "defined the sound and style of heavy metal more than any other record in rock history". The album was ranked at No. 131 on Rolling Stone magazine's list of The 500 Greatest Albums of All Time. Paranoids chart success allowed the band to tour the U.S. for the first time (playing their first U.S. show at a club called Ungano's at 210 West 70th Street in New York City) and spawned the release of the album's second single "Iron Man". Although the single failed to reach the top 40, "Iron Man" remains one of Black Sabbath's most popular songs, as well as the band's highest charting U.S. single until 1998's "Psycho Man".
1971–1973: Master of Reality and Volume 4
In February 1971, after a one-off performance at the Myponga Pop Festival in Australia, Black Sabbath returned to the studio to begin work on their third album. Following the chart success of Paranoid, the band were afforded more studio time, along with a "briefcase full of cash" to buy drugs. "We were getting into coke, big time", Ward explained. "Uppers, downers, Quaaludes, whatever you like. It got to the stage where you come up with ideas and forget them, because you were just so out of it."
Production completed in April 1971, in July the band released Master of Reality, just six months after the U.S. release of Paranoid. The album reached the top ten in the U.S. and the United Kingdom, and was certified gold in less than two months, eventually receiving platinum certification in the 1980s and Double Platinum in the early 21st century. It contained Sabbath's first acoustic songs, alongside fan favourites such as "Children of the Grave" and "Sweet Leaf". Critical response of the era was generally unfavourable, with Lester Bangs delivering an ambivalent review of Master of Reality in Rolling Stone, describing the closing "Children of the Grave" as "naïve, simplistic, repetitive, absolute doggerel – but in the tradition [of rock'n'roll]... The only criterion is excitement, and Black Sabbath's got it". (In 2003, Rolling Stone would place the album at number 300 on their 500 Greatest Albums of All Time list.)
Following the Master of Reality world tour in 1972, Sabbath took its first break in three years. As Ward explained: "The band started to become very fatigued and very tired. We'd been on the road non-stop, year in and year out, constantly touring and recording. I think Master of Reality was kind of like the end of an era, the first three albums, and we decided to take our time with the next album."
In June 1972, the band reconvened in Los Angeles to begin work on their next album at the Record Plant. With more time in the studio, the album saw the band experimenting with new textures, such as strings, piano, orchestration and multi-part songs. Recording was plagued with problems, many as a result of substance abuse issues. Struggling to record the song "Cornucopia" after "sitting in the middle of the room, just doing drugs", Ward was nearly fired. "I hated the song, there were some patterns that were just... horrible," the drummer said. "I nailed it in the end, but the reaction I got was the cold shoulder from everybody. It was like 'Well, just go home, you're not being of any use right now.' I felt like I'd blown it, I was about to get fired". Butler thought that the end product "was very badly produced, as far as I was concerned. Our then-manager insisted on producing it, so he could claim production costs."
The album was originally titled Snowblind after the song of the same name, which deals with cocaine abuse. The record company changed the title at the last minute to Black Sabbath Vol. 4. Ward observed, "There was no Volume 1, 2 or 3, so it's a pretty stupid title really". Vol. 4 was released in September 1972 and, while critics were dismissive, it achieved gold status in less than a month, and was the band's fourth consecutive release to sell a million in the U.S. "Tomorrow's Dream" was released as a single – the band's first since "Paranoid" – but failed to chart.
Following an extensive tour of the U.S., in 1973 the band travelled again to Australia, followed by a tour for the first time to New Zealand, before moving onto mainland Europe. "The band were definitely in their heyday," recalled Ward, "in the sense that nobody had burnt out quite yet."
1973–1976: Sabbath Bloody Sabbath and Sabotage
Following the Volume 4 world tour, Black Sabbath returned to Los Angeles to begin work on their next release. Pleased with the Volume 4 album, the band sought to recreate the recording atmosphere, and returned to the Record Plant studio in Los Angeles. With new musical innovations of the era, the band were surprised to find that the room they had used previously at the Record Plant was replaced by a "giant synthesiser". The band rented a house in Bel Air and began writing in the summer of 1973, but in part because of substance issues and fatigue, they were unable to complete any songs. "Ideas weren't coming out the way they were on Volume 4 and we really got discontent" Iommi said. "Everybody was sitting there waiting for me to come up with something. I just couldn't think of anything. And if I didn't come up with anything, nobody would do anything."
After a month in Los Angeles with no results, the band opted to return to England. They rented Clearwell Castle in The Forest of Dean. "We rehearsed in the dungeons and it was really creepy but it had some atmosphere, it conjured up things, and stuff started coming out again." While working in the dungeon, Iommi stumbled onto the main riff of "Sabbath Bloody Sabbath", which set the tone for the new material. Recorded at Morgan Studios in London by Mike Butcher and building off the stylistic changes introduced on Volume 4, new songs incorporated synthesisers, strings, and complex arrangements. Yes keyboardist Rick Wakeman was brought in as a session player, appearing on "Sabbra Cadabra".
In November 1973, Black Sabbath began to receive positive reviews in the mainstream press after the release of Sabbath Bloody Sabbath, with Gordon Fletcher of Rolling Stone calling the album "an extraordinarily gripping affair", and "nothing less than a complete success." Later reviewers such as AllMusic's Eduardo Rivadavia cite the album as a "masterpiece, essential to any heavy metal collection", while also displaying "a newfound sense of finesse and maturity." The album marked the band's fifth consecutive platinum selling album in the U.S., reaching number four on the UK Albums Chart, and number eleven in the U.S.
The band began a world tour in January 1974, which culminated at the California Jam festival in Ontario, California, on 6 April 1974. Attracting over 200,000 fans, Black Sabbath appeared alongside popular 1970s rock and pop bands Deep Purple, Eagles, Emerson, Lake & Palmer, Rare Earth, Seals & Crofts, Black Oak Arkansas, and Earth, Wind & Fire. Portions of the show were telecast on ABC Television in the U.S., exposing the band to a wider American audience. In the same year, the band shifted management, signing with notorious English manager Don Arden. The move caused a contractual dispute with Black Sabbath's former management, and while on stage in the U.S., Osbourne was handed a subpoena that led to two years of litigation.
Black Sabbath began work on their sixth album in February 1975, again in England at Morgan Studios in Willesden, this time with a decisive vision to differ the sound from Sabbath, Bloody Sabbath. "We could've continued and gone on and on, getting more technical, using orchestras and everything else which we didn't particularly want to. We took a look at ourselves, and we wanted to do a rock album – Sabbath, Bloody Sabbath wasn't a rock album, really." Produced by Black Sabbath and Mike Butcher, Sabotage was released in July 1975. As with its precursor, the album initially saw favourable reviews, with Rolling Stone stating "Sabotage is not only Black Sabbath's best record since Paranoid, it might be their best ever", although later reviewers such as AllMusic noted that "the magical chemistry that made such albums as Paranoid and Volume 4 so special was beginning to disintegrate".
Sabotage reached the top 20 in both the U.S. and the United Kingdom, but was the band's first release not to achieve Platinum status in the U.S., only achieving Gold certification. Although the album's only single "Am I Going Insane (Radio)" failed to chart, Sabotage features fan favourites such as "Hole in the Sky", and "Symptom of the Universe". Black Sabbath toured in support of Sabotage with openers Kiss, but were forced to cut the tour short in November 1975, following a motorcycle accident in which Osbourne ruptured a muscle in his back. In December 1975, the band's record companies released a greatest hits album without input from the band, titled We Sold Our Soul for Rock 'n' Roll. The album charted throughout 1976, eventually selling two million copies in the U.S.
1976–1979: Technical Ecstasy, Never Say Die!, and Osbourne's departure
Black Sabbath began work for their next album at Criteria Studios in Miami, Florida, in June 1976. To expand their sound, the band added keyboard player Gerald Woodroffe, who also had appeared to a lesser extent on Sabotage. During the recording of Technical Ecstasy, Osbourne admits that he began losing interest in Black Sabbath and began to consider the possibility of working with other musicians. Recording of Technical Ecstasy was difficult; by the time the album was completed Osbourne was admitted to Stafford County Asylum in Britain. It was released on 25 September 1976 to mixed reviews, and (for the first time) later music critics gave the album less favourable retrospective reviews; two decades after its release AllMusic gave the album two stars, and noted that the band was "unravelling at an alarming rate". The album featured less of the doomy, ominous sound of previous efforts, and incorporated more synthesisers and uptempo rock songs. Technical Ecstasy failed to reach the top 50 in the U.S., and was the band's second consecutive release not to achieve platinum status, although it was later certified gold in 1997. The album included "Dirty Women", which remains a live staple, as well as Ward's first lead vocal on the song "It's Alright". Touring in support of Technical Ecstasy began in November 1976, with openers Boston and Ted Nugent in the U.S., and completed in Europe with AC/DC in April 1977.
In late 1977, while in rehearsal for their next album, and just days before the band was set to enter the studio, Osbourne abruptly quit the band. Iommi called vocalist Dave Walker, a longtime friend of the band, who had previously been a member of Fleetwood Mac and Savoy Brown, and informed him that Osbourne had left the band. Walker, who was at that time fronting a band called Mistress, flew to Birmingham from California in late 1977 to write material and rehearse with Black Sabbath. On 8 January 1978, Black Sabbath made their only live performance with Walker on vocals, playing an early version of the song "Junior's Eyes" on the BBC Television programme "Look! Hear!" Walker later recalled that while in Birmingham he had bumped into Osbourne in a pub and came to the conclusion that Osbourne was not fully committed to leaving Black Sabbath. "The last Sabbath albums were just very depressing for me", Osbourne said. "I was doing it for the sake of what we could get out of the record company, just to get fat on beer and put a record out." Walker has said that he wrote a lot of lyrics during his brief time in the band but none of them were ever used. If any recordings of this version of the band other than the "Look! Hear!" footage still exist, Walker says that he is not aware of them.
Osbourne initially set out to form a solo project featuring former Dirty Tricks members John Frazer-Binnie, Terry Horbury, and Andy Bierne. As the new band were in rehearsals in January 1978, Osbourne had a change of heart and rejoined Black Sabbath. "Three days before we were due to go into the studio, Ozzy wanted to come back to the band", Iommi explained. "He wouldn't sing any of the stuff we'd written with the other guy (Walker), so it made it very difficult. We went into the studio with basically no songs. We'd write in the morning so we could rehearse and record at night. It was so difficult, like a conveyor belt, because you couldn't get time to reflect on stuff. 'Is this right? Is this working properly?' It was very difficult for me to come up with the ideas and putting them together that quick."
The band spent five months at Sounds Interchange Studios in Toronto, Ontario, Canada, writing and recording what would become Never Say Die!. "It took quite a long time", Iommi said. "We were getting really drugged out, doing a lot of dope. We'd go down to the sessions, and have to pack up because we were too stoned, we'd have to stop. Nobody could get anything right, we were all over the place, everybody's playing a different thing. We'd go back and sleep it off, and try again the next day." The album was released in September 1978, reaching number twelve in the United Kingdom, and number 69 in the U.S. Press response was unfavourable and did not improve over time with Eduardo Rivadavia of AllMusic stating two decades after its release that the album's "unfocused songs perfectly reflected the band's tense personnel problems and drug abuse." The album featured the singles "Never Say Die" and "Hard Road", both of which cracked the top 40 in the United Kingdom. The band also made their second appearance on the BBC's Top of the Pops, performing "Never Say Die". It took nearly 20 years for the album to be certified Gold in the U.S.
Touring in support of Never Say Die! began in May 1978 with openers Van Halen. Reviewers called Black Sabbath's performance "tired and uninspired", a stark contrast to the "youthful" performance of Van Halen, who were touring the world for the first time. The band filmed a performance at the Hammersmith Odeon in June 1978, which was later released on DVD as Never Say Die. The final show of the tour, and Osbourne's last appearance with the band (until later reunions) was in Albuquerque, New Mexico on 11 December.
Following the tour, Black Sabbath returned to Los Angeles and again rented a house in Bel Air, where they spent nearly a year working on new material for the next album. The entire band were abusing both alcohol and other drugs, but Iommi says Osbourne "was on a totally different level altogether". The band would come up with new song ideas but Osbourne showed little interest and would refuse to sing them. Pressure from the record label and frustrations with Osbourne's lack of input coming to a head, Iommi made the decision to fire Osbourne in 1979. Iommi believed the only options available were to fire Osbourne or break the band up completely. "At that time, Ozzy had come to an end", Iommi said. "We were all doing a lot of drugs, a lot of coke, a lot of everything, and Ozzy was getting drunk so much at the time. We were supposed to be rehearsing and nothing was happening. It was like 'Rehearse today? No, we'll do it tomorrow.' It really got so bad that we didn't do anything. It just fizzled out." Drummer Ward, who was close with Osbourne, was chosen by Tony to break the news to the singer on 27 April 1979. "I hope I was professional, I might not have been, actually. When I'm drunk I am horrible, I am horrid", Ward said. "Alcohol was definitely one of the most damaging things to Black Sabbath. We were destined to destroy each other. The band were toxic, very toxic."
1979–1982: Dio joins, Heaven and Hell, and Mob Rules
Sharon Arden (later Sharon Osbourne), daughter of Black Sabbath manager Don Arden, suggested former Rainbow vocalist Ronnie James Dio to replace Ozzy Osbourne in 1979. Don Arden was at this point still trying to convince Osbourne to rejoin the band, as he viewed the original line-up as the most profitable. Dio officially joined in June, and the band began writing their next album. With a notably different vocal style from Osbourne's, Dio's addition to the band marked a change in Black Sabbath's sound. "They were totally different altogether", Iommi explains. "Not only voice-wise, but attitude-wise. Ozzy was a great showman, but when Dio came in, it was a different attitude, a different voice and a different musical approach, as far as vocals. Dio would sing across the riff, whereas Ozzy would follow the riff, like in "Iron Man". Ronnie came in and gave us another angle on writing."
Geezer Butler temporarily left the band in September 1979 for personal reasons. According to Dio, the band initially hired Craig Gruber (with whom Dio had previously played while in Elf) on bass to assist with writing the new album. Gruber was soon replaced by Geoff Nicholls of Quartz. The new line-up returned to Criteria Studios in November to begin recording work, with Butler returning to the band in January 1980, and Nicholls moving to keyboards. Produced by Martin Birch, Heaven and Hell was released on 25 April 1980, to critical acclaim. Over a decade after its release AllMusic said the album was "one of Sabbath's finest records, the band sounds reborn and re-energised throughout". Heaven and Hell peaked at number 9 in the United Kingdom, and number 28 in the U.S., the band's highest charting album since Sabotage. The album eventually sold a million copies in the U.S., and the band embarked on an extensive world tour, making their first live appearance with Dio in Germany on 17 April 1980.
Black Sabbath toured the U.S. throughout 1980 with Blue Öyster Cult on the "Black and Blue" tour, with a show at Nassau Coliseum in Uniondale, New York filmed and released theatrically in 1981 as Black and Blue. On 26 July 1980, the band played to 75,000 fans at a sold-out Los Angeles Memorial Coliseum with Journey, Cheap Trick, and Molly Hatchet. The next day, the band appeared at the 1980 Day on the Green at Oakland Coliseum. While on tour, Black Sabbath's former label in England issued a live album culled from a seven-year-old performance, titled Live at Last without any input from the band. The album reached number five on the UK chart, and saw the re-release of "Paranoid" as a single, which reached the top 20.
On 18 August 1980, after a show in Minneapolis, Ward quit the band. "It was intolerable for me to get on the stage without Ozzy. And I drank 24 hours a day, my alcoholism accelerated". Geezer Butler stated that after Ward's final show, the drummer came in drunk, stating that "He might as well be a Martian". Ward then got angry, packed his things and got on a bus to leave. Following Ward's sudden departure, the group hired drummer Vinny Appice. Further trouble for the band came during their 9 October 1980 concert at the Milwaukee Arena, which degenerated into a riot causing $10,000 in damages to the arena and resulted in 160 arrests. According to the Associated Press, "the crowd of mostly adolescent males first became rowdy in a performance by the Blue Oyster Cult" and then grew restless while waiting an hour for Black Sabbath to begin playing. A member of the audience threw a beer bottle that struck bassist Butler and effectively ended the show. "The band then abruptly halted its performance and began leaving" as the crowd rioted.
The band completed the Heaven and Hell world tour in February 1981, and returned to the studio to begin work on their next album. Black Sabbath's second studio album produced by Martin Birch and featuring Ronnie James Dio as vocalist Mob Rules was released in October 1981, to be well received by fans, but less so by the critics. Rolling Stone reviewer J. D. Considine gave the album one star, claiming "Mob Rules finds the band as dull-witted and flatulent as ever". Like most of the band's earlier work, time helped to improve the opinions of the music press, a decade after its release, AllMusic's Eduardo Rivadavia called Mob Rules "a magnificent record". The album was certified gold, and reached the top 20 on the UK chart. The album's title track "The Mob Rules", which was recorded at John Lennon's old house in England, also featured in the 1981 animated film Heavy Metal, although the film version is an alternate take, and differs from the album version.
Unhappy with the quality of 1980's Live at Last, the band recorded another live album—titled Live Evil—during the Mob Rules world tour, across the United States in Dallas, San Antonio, and Seattle, in 1982. During the mixing process for the album, Iommi and Butler had a falling out with Dio. Misinformed by their then-current mixing engineer, Iommi and Butler accused Dio of sneaking into the studio at night to raise the volume of his vocals.<ref>{{cite web|last=Marszalek|first=Julian|title=Black Sabbath's Tony Iommi Recalls the 'Heaven and Hell Era|url=http://www.spinner.com/2010/04/02/black-sabbath-tony-iommi-interview/|archive-url=https://web.archive.org/web/20120320015547/http://www.spinner.com/2010/04/02/black-sabbath-tony-iommi-interview/|url-status=dead|archive-date=20 March 2012|publisher=spinner.com|access-date=26 January 2019}}</ref> In addition, Dio was not satisfied with the pictures of him in the artwork. Butler also accused Dio and Appice of working on a solo album during the album's mixing without telling the other members of Black Sabbath. "Ronnie wanted more say in things," Iommi said. "And Geezer would get upset with him and that is where the rot set in. Live Evil is when it all fell apart. Ronnie wanted to do more of his own thing, and the engineer we were using at the time in the studio didn't know what to do, because Ronnie was telling him one thing and we were telling him another. At the end of the day, we just said, 'That's it, the band is over'". "When it comes time for the vocal, nobody tells me what to do. Nobody! Because they're not as good as me, so I do what I want to do," Dio later said. "I refuse to listen to Live Evil, because there are too many problems. If you look at the credits, the vocals and drums are listed off to the side. Open up the album and see how many pictures there are of Tony, and how many there are of me and Vinny".
Ronnie James Dio left Black Sabbath in November 1982 to start his own band, and took drummer Vinny Appice with him. Live Evil was released in January 1983, but was overshadowed by Ozzy Osbourne's platinum selling album Speak of the Devil.
1982–1984: Gillan as singer and Born Again
The remaining original members, Iommi and Butler, began auditioning singers for the band's next release. Deep Purple and Whitesnake's David Coverdale, Samson's Nicky Moore and Lone Star's John Sloman were all considered and Iommi states in his autobiography that Michael Bolton auditioned. The band settled on former Deep Purple vocalist Ian Gillan to replace Dio in December 1982. The project was initially not to be called Black Sabbath, but pressure from the record label forced the group to retain the name. The band entered The Manor Studios in Shipton-on-Cherwell, Oxfordshire, in June 1983 with a returned and newly sober Bill Ward on drums. "That was the very first album that I ever did clean and sober," Ward recalled. "I only got drunk after I finished all my work on the album – which wasn't a very good idea... Sixty to seventy per cent of my energy was taken up on learning how to get through the day without taking a drink and learning how to do things without drinking, and thirty per cent of me was involved in the album."Born Again (7 August 1983) was panned on release by critics. Despite this negative reception, it reached number four in the UK, and number 39 in the U.S. Even three decades after its release, AllMusic's Eduardo Rivadavia called the album "dreadful", noting that "Gillan's bluesy style and humorous lyrics were completely incompatible with the lords of doom and gloom".
Unable to tour because of the pressures of the road, Ward quit the band. "I fell apart with the idea of touring," he later explained. "I got so much fear behind touring, I didn't talk about the fear, I drank behind the fear instead and that was a big mistake." He was replaced by former Electric Light Orchestra drummer Bev Bevan for the Born Again '83–'84 world tour, (often unofficially referred to as the 'Feighn Death Sabbath '83–'84' World Tour) which began in Europe with Diamond Head, and later in the U.S. with Quiet Riot and Night Ranger. The band headlined the 1983 Reading Festival in England, adding Deep Purple's "Smoke on the Water" to their encore.
The tour in support of Born Again included a giant set of the Stonehenge monument. In a move later parodied in the mockumentary This Is Spinal Tap, the band made a mistake in ordering the set piece. Butler explained:
1984–1987: Hiatus, Hughes as singer, Seventh Star, and Gillen as singer
Following the completion of the Born Again tour in March 1984, vocalist Ian Gillan left Black Sabbath to re-join Deep Purple, which was reforming after a long hiatus. Bevan left at the same time, and Gillan remarked that he and Bevan were made to feel like "hired help" by Iommi. The band then recruited an unknown Los Angeles vocalist named David Donato and Ward once again rejoined the band. The new line-up wrote and rehearsed throughout 1984, and eventually recorded a demo with producer Bob Ezrin in October. Unhappy with the results, the band parted ways with Donato shortly after. Disillusioned with the band's revolving line-up, Ward left shortly after stating "This isn't Black Sabbath". Butler would quit Sabbath next in November 1984 to form a solo band. "When Ian Gillan took over that was the end of it for me," he said. "I thought it was just a joke and I just totally left. When we got together with Gillan it was not supposed to be a Black Sabbath album. After we had done the album we gave it to Warner Bros. and they said they were going to put it out as a Black Sabbath album and we didn't have a leg to stand on. I got really disillusioned with it and Gillan was really pissed off about it. That lasted one album and one tour and then that was it."
One vocalist whose status is disputed, both inside and outside Sabbath, is Christian evangelist and former Joshua frontman Jeff Fenholt. Fenholt insists he was a singer in Sabbath between January and May 1985. Iommi has never confirmed this. Fenholt gives a detailed account in Garry Sharpe-Young's book Sabbath Bloody Sabbath: The Battle for Black Sabbath.
Following both Ward's and Butler's exits, sole remaining original member Iommi put Sabbath on hiatus, and began work on a solo album with long-time Sabbath keyboardist Geoff Nicholls. While working on new material, the original Sabbath line-up agreed to a spot at Bob Geldof's Live Aid, performing at the Philadelphia show on 13 July 1985. This event – which also featured reunions of The Who and Led Zeppelin – marked the first time the original line-up had appeared on stage since 1978. "We were all drunk when we did Live Aid," recalled Geezer Butler, "but we'd all got drunk separately."
Returning to his solo work, Iommi enlisted bassist Dave Spitz (ex-Great White), drummer Eric Singer and initially intended to use multiple singers, including Rob Halford of Judas Priest, former Deep Purple and Trapeze vocalist Glenn Hughes, and former Sabbath vocalist Ronnie James Dio. This plan didn't work as he forecasted. "We were going to use different vocalists on the album, guest vocalists, but it was so difficult getting it together and getting releases from their record companies. Glenn Hughes came along to sing on one track and we decided to use him on the whole album."
The band spent the remainder of the year in the studio, recording what would become Seventh Star (1986). Warner Bros. refused to release the album as a Tony Iommi solo release, instead insisting on using the name Black Sabbath. Pressured by the band's manager, Don Arden, the two compromised and released the album as "Black Sabbath featuring Tony Iommi" in January 1986. "It opened up a whole can of worms," Iommi explained. "If we could have done it as a solo album, it would have been accepted a lot more." Seventh Star sounded little like a Sabbath album, incorporating instead elements popularised by the 1980s Sunset Strip hard rock scene. It was panned by the critics of the era, although later reviewers such as AllMusic gave album verdicts, calling the album "often misunderstood and underrated".
The new line-up rehearsed for six weeks preparing for a full world tour, although the band were eventually forced to use the Sabbath name. "I was into the 'Tony Iommi project', but I wasn't into the Black Sabbath moniker," Hughes said. "The idea of being in Black Sabbath didn't appeal to me whatsoever. Glenn Hughes singing in Black Sabbath is like James Brown singing in Metallica. It wasn't gonna work." Just four days before the start of the tour, Hughes got into a bar fight with the band's production manager John Downing which splintered the singer's orbital bone. The injury interfered with Hughes' ability to sing, and the band brought in vocalist Ray Gillen to continue the tour with W.A.S.P. and Anthrax, although nearly half of the U.S. dates would be cancelled because of poor ticket sales.
Black Sabbath began work on new material in October 1986 at Air Studios in Montserrat with producer Jeff Glixman. The recording was fraught with problems from the beginning, as Glixman left after the initial sessions to be replaced by producer Vic Coppersmith-Heaven. Bassist Dave Spitz quit over "personal issues", and former Rainbow and Ozzy Osbourne bassist Bob Daisley was brought in. Daisley re-recorded all of the bass tracks, and wrote the album's lyrics, but before the album was complete, he left to join Gary Moore's backing band, taking drummer Eric Singer with him. After problems with second producer Coppersmith-Heaven, the band returned to Morgan Studios in England in January 1987 to work with new producer Chris Tsangarides. While working in the United Kingdom, new vocalist Ray Gillen abruptly left Black Sabbath to form Blue Murder with guitarist John Sykes (ex-Tygers of Pan Tang, Thin Lizzy, Whitesnake).
1987–1990: Martin joins, The Eternal Idol, Headless Cross, and Tyr
The band enlisted heavy metal vocalist Tony Martin to re-record Gillen's tracks, and former Electric Light Orchestra drummer Bev Bevan to complete a few percussion overdubs. Before the release of the new album Black Sabbath accepted an offer to play six shows at Sun City, South Africa during the apartheid era. The band drew criticism from activists and artists involved with Artists United Against Apartheid, who had been boycotting South Africa since 1985. Drummer Bev Bevan refused to play the shows, and was replaced by Terry Chimes, formerly of the Clash.
After nearly a year in production, The Eternal Idol was released on 8 December 1987 and ignored by contemporary reviewers. On-line internet era reviews were mixed. AllMusic said that "Martin's powerful voice added new fire" to the band, and the album contained "some of Iommi's heaviest riffs in years." Blender gave the album two stars, claiming the album was "Black Sabbath in name only". The album would stall at No. 66 in the United Kingdom, while peaking at 168 in the U.S. The band toured in support of Eternal Idol in Germany, Italy and for the first time, Greece. In part due to a backlash from promoters over the South Africa incident, other European shows were cancelled. Bassist Dave Spitz left the band shortly before the tour, and was replaced by Jo Burt, formerly of Virginia Wolf.
Following the poor commercial performance of The Eternal Idol, Black Sabbath were dropped by both Vertigo Records and Warner Bros. Records, and signed with I.R.S. Records. The band took time off in 1988, returning in August to begin work on their next album. As a result of the recording troubles with Eternal Idol, Tony Iommi opted to produce the band's next album himself. "It was a completely new start", Iommi said. "I had to rethink the whole thing, and decided that we needed to build up some credibility again". Iommi enlisted former Rainbow drummer Cozy Powell, long-time keyboardist Nicholls and session bassist Laurence Cottle, and rented a "very cheap studio in England".
Black Sabbath released Headless Cross in April 1989, and it was also ignored by contemporary reviewers, although AllMusic contributor Eduardo Rivadavia gave the album four stars and called it "the finest non-Ozzy or Dio Black Sabbath album". Anchored by the number 62 charting single "Headless Cross", the album reached number 31 on the UK chart, and number 115 in the U.S. Queen guitarist Brian May, a good friend of Iommi's, played a guest solo on the song "When Death Calls". Following the album's release the band added touring bassist Neil Murray, formerly of Colosseum II, National Health, Whitesnake, Gary Moore's backing band, and Vow Wow.
The unsuccessful Headless Cross U.S. tour began in May 1989 with openers Kingdom Come and Silent Rage, but because of poor ticket sales, the tour was cancelled after just eight shows. The European leg of the tour began in September, where the band were enjoying chart success. After a string of Japanese shows the band embarked on a 23 date Russian tour with Girlschool. Black Sabbath was one of the first bands to tour Russia, after Mikhail Gorbachev opened the country to western acts for the first time in 1989.
The band returned to the studio in February 1990 to record Tyr, the follow-up to Headless Cross. While not technically a concept album, some of the album's lyrical themes are loosely based on Norse mythology. Tyr was released on 6 August 1990, reaching number 24 on the UK albums chart, but was the first Black Sabbath release not to break the Billboard 200 in the U.S. The album would receive mixed internet-era reviews, with AllMusic noting that the band "mix myth with metal in a crushing display of musical synthesis", while Blender gave the album just one star, claiming that "Iommi continues to besmirch the Sabbath name with this unremarkable collection". The band toured in support of Tyr with Circus of Power in Europe, but the final seven United Kingdom dates were cancelled because of poor ticket sales. For the first time in their career, the band's touring cycle did not include U.S. dates.
1990–1992: Dio rejoins and Dehumanizer
While on his Lock Up the Wolves U.S. tour in August 1990, former Sabbath vocalist Ronnie James Dio was joined onstage at the Roy Wilkins Auditorium by Geezer Butler to perform "Neon Knights". Following the show, the two expressed interest in rejoining Sabbath. Butler convinced Iommi, who in turn broke up the current lineup, dismissing vocalist Tony Martin and bassist Neil Murray. "I do regret that in a lot of ways," Iommi said. "We were at a good point then. We decided to [reunite with Dio] and I don't even know why, really. There's the financial aspect, but that wasn't it. I seemed to think maybe we could recapture something we had."
Dio and Butler joined Iommi and Cozy Powell in autumn 1990 to begin the next Sabbath release. While rehearsing in November, Powell suffered a broken hip when his horse died and fell on the drummer's legs. Unable to complete the album, Powell was replaced by former drummer Vinny Appice, reuniting the Mob Rules lineup, and the band entered the studio with producer Reinhold Mack. The year-long recording was plagued with problems, primarily stemming from writing tension between Iommi and Dio. Songs were rewritten multiple times. "It was just hard work," Iommi said. "We took too long on it, that album cost us a million dollars, which is bloody ridiculous." Dio recalled the album as difficult, but worth the effort: "It was something we had to really wring out of ourselves, but I think that's why it works. Sometimes you need that kind of tension, or else you end up making the Christmas album".
The resulting Dehumanizer was released on 22 June 1992. In the U.S., the album was released on 30 June 1992 by Reprise Records, as Dio and his namesake band were still under contract to the label at the time. While the album received mixed , it was the band's biggest commercial success in a decade. Anchored by the top 40 rock radio single "TV Crimes", the album peaked at number 44 on the Billboard 200. The album also featured "Time Machine", a version of which had been recorded for the 1992 film Wayne's World. Additionally, the perception among fans of a return of some semblance of the "real" Sabbath provided the band with much needed momentum.
Sabbath began touring in support of Dehumanizer in July 1992 with Testament, Danzig, Prong, and Exodus. While on tour, former vocalist Ozzy Osbourne announced his first retirement, and invited Sabbath to open for his solo band at the final two shows of his No More Tours tour in Costa Mesa, California. The band agreed, aside from Dio, who told Iommi, "I'm not doing that. I'm not supporting a clown." Dio spoke of the situation years later:
Dio quit Sabbath following a show in Oakland, California on 13 November 1992, one night before the band were set to appear at Osbourne's retirement show. Judas Priest vocalist Rob Halford stepped in at the last minute, performing two nights with the band. Iommi and Butler joined Osbourne and former drummer Ward on stage for the first time since 1985's Live Aid concert, performing a brief set of Sabbath songs. This set the stage for a longer-term reunion of the original lineup, though that plan proved short-lived. "Ozzy, Geezer, Tony and Bill announced the reunion of Black Sabbath – again," remarked Dio. "And I thought that it was a great idea. But I guess Ozzy didn't think it was such a great idea… I'm never surprised when it comes to whatever happens with them. Never at all. They are very predictable. They don't talk."
1992–1997: Martin rejoins, Cross Purposes, and Forbidden
Drummer Vinny Appice left the band following the reunion show to rejoin Ronnie James Dio's solo band, later appearing on Dio's Strange Highways and Angry Machines. Iommi and Butler enlisted former Rainbow drummer Bobby Rondinelli, and reinstated former vocalist Tony Martin. The band returned to the studio to work on new material, although the project was not originally intended to be released under the Black Sabbath name. As Geezer Butler explains:
Under pressure from their record label, the band released their seventeenth studio album, Cross Purposes, on 8 February 1994, under the Black Sabbath name. The album received mixed reviews, with Blender giving the album two stars, calling Soundgarden's 1994 album Superunknown "a far better Sabbath album than this by-the-numbers potboiler". AllMusic's Bradley Torreano called Cross Purposes "the first album since Born Again that actually sounds like a real Sabbath record". The album just missed the Top 40 in the UK reaching number 41, and also reached 122 on the Billboard 200 in the U.S. Cross Purposes contained the song "Evil Eye", which was co-written by Van Halen guitarist Eddie Van Halen, although uncredited because of record label restrictions. Touring in support of Cross Purposes began in February with Morbid Angel and Motörhead in the U.S. The band filmed a live performance at the Hammersmith Apollo on 13 April 1994, which was released on VHS accompanied by a CD, titled Cross Purposes Live. After the European tour with Cathedral and Godspeed in June 1994, drummer Bobby Rondinelli quit the band and was replaced by original Black Sabbath drummer Ward for five shows in South America.
Following the touring cycle for Cross Purposes, bassist Geezer Butler quit the band for the second time. "I finally got totally disillusioned with the last Sabbath album, and I much preferred the stuff I was writing to the stuff Sabbath were doing". Butler formed a solo project called GZR, and released Plastic Planet in 1995. The album contained the song "Giving Up the Ghost", which was critical of Tony Iommi for carrying on with the Black Sabbath name, with the lyrics: You plagiarised and parodied / the magic of our meaning / a legend in your own mind / left all your friends behind / you can't admit that you're wrong / the spirit is dead and gone ("I heard it's something about me..." said Iommi. "I had the album given to me a while back. I played it once, then somebody else had it, so I haven't really paid any attention to the lyrics... It's nice to see him doing his own thing – getting things off his chest. I don't want to get into a rift with Geezer. He's still a friend."
Following Butler's departure, newly returned drummer Ward once again left the band. Iommi reinstated former members Neil Murray on bass and Cozy Powell on drums, effectively reuniting the 1990 Tyr line-up. The band enlisted Body Count guitarist Ernie C to produce the new album, which was recorded in London in autumn of 1994. The album featured a guest vocal on "Illusion of Power" by Body Count vocalist Ice-T. The resulting Forbidden was released on 8 June 1995, but failed to chart in the U.S. The album was widely panned by critics; AllMusic's Bradley Torreano said "with boring songs, awful production, and uninspired performances, this is easily avoidable for all but the most enthusiastic fan"; while Blender magazine called Forbidden "an embarrassment... the band's worst album".
Black Sabbath embarked on a world tour in July 1995 with openers Motörhead and Tiamat, but two months into the tour, drummer Cozy Powell left the band, citing health issues, and was replaced by former drummer Bobby Rondinelli. "The members I had in the last lineup – Bobby Rondinelli, Neil Murray – they're great, great characters..." Iommi told Sabbath fanzine Southern Cross. "That, for me, was an ideal lineup. I wasn't sure vocally what we should do, but Neil Murray and Bobby Rondinelli I really got on well with."
After completing Asian dates in December 1995, Tony Iommi put the band on hiatus, and began work on a solo album with former Black Sabbath vocalist Glenn Hughes, and former Judas Priest drummer Dave Holland. The album was not officially released following its completion, although a widely traded bootleg called Eighth Star surfaced soon after. The album was officially released in 2004 as The 1996 DEP Sessions, with Holland's drums re-recorded by session drummer Jimmy Copley.
In 1997, Tony Iommi disbanded the current line-up to officially reunite with Ozzy Osbourne and the original Black Sabbath line-up. Vocalist Tony Martin claimed that an original line-up reunion had been in the works since the band's brief reunion at Ozzy Osbourne's 1992 Costa Mesa show, and that the band released subsequent albums to fulfill their record contract with I.R.S. Records. Martin later recalled Forbidden (1995) as a "filler album that got the band out of the label deal, rid of the singer, and into the reunion. However I wasn't privy to that information at the time". I.R.S. Records released a compilation album in 1996 to fulfill the band's contract, titled The Sabbath Stones, which featured songs from Born Again (1983) to Forbidden (1995).
1997–2006: Osbourne rejoins and Reunion
In the summer of 1997, Iommi, Butler and Osbourne reunited to coheadline the Ozzfest tour alongside Osbourne's solo band. The line-up featured Osbourne's drummer Mike Bordin filling in for Ward. "It started off with me going off to join Ozzy for a couple of numbers," explained Iommi, "and then it got into Sabbath doing a short set, involving Geezer. And then it grew as it went on… We were concerned in case Bill couldn't make it – couldn't do it – because it was a lot of dates, and important dates… The only rehearsal that we had to do was for the drummer. But I think if Bill had come in, it would have took a lot more time. We would have had to focus a lot more on him."
In December 1997, the group was joined by Ward, marking the first reunion of the original quartet since Osbourne's 1992 "retirement show". This lineup recorded two shows at the Birmingham NEC, released as the double album Reunion on 20 October 1998. The album reached number eleven on the Billboard 200, went platinum in the U.S. and spawned the single "Iron Man", which won Sabbath their first Grammy Award in 2000 for Best Metal Performance, 30 years after the song was originally released. Reunion featured two new studio tracks, "Psycho Man" and "Selling My Soul", both of which cracked the top 20 of the Billboard Mainstream Rock Tracks chart.
Shortly before a European tour in the summer of 1998, Ward suffered a heart attack and was temporarily replaced by former drummer Vinny Appice. Ward returned for a U.S. tour with openers Pantera, which began in January 1999 and continued through the summer, headlining the annual Ozzfest tour. Following these appearances, the band was put on hiatus while members worked on solo material. Iommi released his first official solo album, Iommi, in 2000, while Osbourne continued work on Down to Earth (2001).
Sabbath returned to the studio to work on new material with all four original members and producer Rick Rubin in the spring of 2001, but the sessions were halted when Osbourne was called away to finish tracks for his solo album in the summer. "It just came to an end…" Iommi said. "It's a shame because [the songs] were really Iommi commented on the difficulty getting all the members together to work:
In March 2002, Osbourne's Emmy-winning reality show The Osbournes debuted on MTV, and quickly became a worldwide hit. The show introduced Osbourne to a broader audience and to capitalise, the band's back catalogue label, Sanctuary Records released a double live album Past Lives (2002), which featured concert material recorded in the 1970s, including the Live at Last (1980) album. The band remained on hiatus until the summer of 2004 when they returned to headline Ozzfest 2004 and 2005. In November 2005, Black Sabbath were inducted into the UK Music Hall of Fame, and in March 2006, after eleven years of eligibility—Osbourne famously refused the Hall's "meaningless" initial nomination in 1999—the band were inducted into the U.S. Rock and Roll Hall of Fame. At the awards ceremony Metallica played two Sabbath songs, "Hole in the Sky" and "Iron Man" in tribute.
2006–2010: The Dio Years and Heaven & Hell
While Ozzy Osbourne was working on new solo album material in 2006, Rhino Records released Black Sabbath: The Dio Years, a compilation of songs culled from the four Black Sabbath releases featuring Ronnie James Dio. For the release, Iommi, Butler, Dio, and Appice reunited to write and record three new songs as Black Sabbath. The Dio Years was released on 3 April 2007, reaching number 54 on the Billboard 200, while the single "The Devil Cried" reached number 37 on the Mainstream Rock Tracks chart. Pleased with the results, Iommi and Dio decided to reunite the Dio era line-up for a world tour. While the line-up of Osbourne, Butler, Iommi, and Ward was still officially called Black Sabbath, the new line-up opted to call themselves Heaven & Hell, after the album of the same title, to avoid confusion. When asked about the name of the group, Iommi stated "it really is Black Sabbath, whatever we do... so everyone knows what they're getting [and] so people won't expect to hear 'Iron Man' and all those songs. We've done them for so many years, it's nice to do just all the stuff we did with Ronnie again."
Ward was initially set to participate, but dropped out before the tour began due to musical differences with "a couple of the band members". He was replaced by former drummer Vinny Appice, effectively reuniting the line-up that had featured on the Mob Rules (1981) and Dehumanizer (1992) albums.
Heaven & Hell toured the U.S. with openers Megadeth and Machine Head, and recorded a live album and DVD in New York on 30 March 2007, titled Live from Radio City Music Hall. In November 2007, Dio confirmed that the band had plans to record a new studio album, which was recorded in the following year. In April 2008 the band announced the upcoming release of a new box set and their participation in the Metal Masters Tour, alongside Judas Priest, Motörhead and Testament. The box set, The Rules of Hell, featuring remastered versions of all the Dio fronted Black Sabbath albums, was supported by the Metal Masters Tour. In 2009, the band announced the title of their debut studio album, The Devil You Know, released on 28 April.
On 26 May 2009, Osbourne filed suit in a federal court in New York against Iommi alleging that he illegally claimed the band name. Iommi noted that he has been the only constant band member for its full 41-year career and that his bandmates relinquished their rights to the name in the 1980s, therefore claiming more rights to the name of the band. Although in the suit, Osbourne was seeking 50% ownership of the trademark, he said that he hoped the proceedings would lead to equal ownership among the four original members.
In March 2010, Black Sabbath announced that along with Metallica they would be releasing a limited edition single together to celebrate Record Store Day. It was released on 17 April 2010. Ronnie James Dio died on 16 May 2010 from stomach cancer. In June 2010, the legal battle between Ozzy Osbourne and Tony Iommi over the trademarking of the Black Sabbath name ended, but the terms of the settlement have not been disclosed.
2010–2014: Second Osbourne reunion and 13
In a January 2010 interview while promoting his biography I Am Ozzy, Osbourne stated that although he would not rule it out, he was doubtful there would be a reunion with all four original members of the band. Osbourne stated: "I'm not gonna say I've written it out forever, but right now I don't think there's any chance. But who knows what the future holds for me? If it's my destiny, fine." In July, Butler said that there would be no reunion in 2011, as Osbourne was already committed to touring with his solo band. However, by that August they had already met up to rehearse together, and continued to do so through the autumn.
On 11 November 2011, Iommi, Butler, Osbourne, and Ward announced that they were reuniting to record a new album with a full tour in support beginning in 2012. Guitarist Iommi was diagnosed with lymphoma on 9 January 2012, which forced the band to cancel all but two shows (Download Festival, and Lollapalooza Festival) of a previously booked European tour. It was later announced that an intimate show would be played in their hometown Birmingham. It was the first concert since the reunion and the only indoors concerts that year. In February 2012, drummer Ward announced that he would not participate further in the band's reunion until he was offered a "signable contract".
On 21 May 2012, at the O2 Academy in Birmingham, Black Sabbath played their first concert since 2005, with Tommy Clufetos playing the drums. In June, they performed at the Download Festival at the Donington Park motorsports circuit in Leicestershire, England, followed by the last concert of the short tour at Lollapalooza Festival in Chicago. Later that month, the band started recording an album.
On 13 January 2013, the band announced that the album would be released in June under the title 13. Brad Wilk of Rage Against the Machine was chosen as the drummer, and Rick Rubin was chosen as the producer. Mixing of the album commenced in February. On 12 April 2013, the band released the album's track listing. The standard version of the album features eight new tracks, and the deluxe version features three bonus tracks.
The band's first single from 13, "God Is Dead?", was released on 19 April 2013. On 20 April 2013, Black Sabbath commenced their first Australia/New Zealand tour in 40 years followed by a North American Tour in Summer 2013. The second single of the album, "End of the Beginning", debuted on 15 May in a CSI: Crime Scene Investigation episode, where all three members appeared. In June 2013, 13 topped both the UK Albums Chart and the U.S. Billboard 200, becoming their first album to reach number one on the latter chart. In 2014, Black Sabbath received their first Grammy Award since 2000 with "God Is Dead?" winning Best Metal Performance.
In July 2013, Black Sabbath embarked on a North American Tour (for the first time since July 2001), followed by a Latin American tour in October 2013. In November 2013, the band started their European tour which lasted until December 2013. In March and April 2014, they made 12 stops in North America (mostly in Canada) as the second leg of their North American Tour before embarking in June 2014 on the second leg of their European tour, which ended with a concert at London's Hyde Park.
2014–2017: Cancelled twentieth album, The End, and disbandment
On 29 September 2014, Osbourne told Metal Hammer that Black Sabbath would begin work on their twentieth studio album in early 2015 with producer Rick Rubin, followed by a final tour in 2016. In an April 2015 interview, however, Osbourne said that these plans "could change", and added, "We all live in different countries and some of them want to work and some of them don't want to, I believe. But we are going to do another tour together."
On 3 September 2015, it was announced that Black Sabbath would embark on their final tour, titled The End, from January 2016 to February 2017. Numerous dates and locations across the U.S., Canada, Europe, Australia and New Zealand were announced. The final shows of The End tour took place at the Genting Arena in their home city of Birmingham, England on 2 and 4 February 2017. On 26 October 2015, it was announced the band consisting of Osbourne, Iommi and Butler would be returning to the Download Festival on 11 June 2016. Despite earlier reports that they would enter the studio before their farewell tour, Osbourne stated that there would not be another Black Sabbath studio album. However, an 8-track CD entitled The End was sold at dates on the tour. Along with some live recordings, the CD includes four unused tracks from the 13 sessions.
On 4 March 2016, Iommi discussed future re-releases of the Tony Martin-era catalogue: "We've held back on the reissues of those albums because of the current Sabbath thing with Ozzy Osbourne, but they will certainly be happening... I'd like to do a couple of new tracks for those releases with Tony Martin... I'll also be looking at working on Cross Purposes and Forbidden." Martin had suggested that this could coincide with the 30th anniversary of The Eternal Idol, in 2017. In an interview that August, Martin added "[Iommi] still has his cancer issues of course and that may well stop it all from happening but if he wants to do something I am ready." On 10 August 2016, Iommi revealed that his cancer was in remission.
Asked in November 2016 about his plans after Black Sabbath's final tour, Iommi replied, "I'll be doing some writing. Maybe I'll be doing something with the guys, maybe in the studio, but no touring." The band played their final concert on 4 February 2017 in Birmingham. The final song was streamed live on the band's Facebook page and fireworks went off as the band took their final bow. The band's final tour was not an easy one, as longstanding tensions between Osbourne and Iommi returned to the surface. Iommi stated that he would not rule out the possibility of one-off shows, "I wouldn't write that off, if one day that came about. That's possible. Or even doing an album, 'cause then, again, you're in one place. But I don't know if that would happen." In an April 2017 interview, Butler revealed that Black Sabbath considered making a blues album as the follow-up to 13, but added that, "the tour got in the way."
On 7 March 2017, Black Sabbath announced their disbandment through posts made on their official social media accounts.
2017–present: Aftermath
In a June 2018 interview with ITV News, Osbourne expressed interest in reuniting with Black Sabbath for a performance at the 2022 Commonwealth Games which is due to be held in their home city Birmingham. Iommi said that performing at the event as Black Sabbath would be "a great thing to do to help represent Birmingham. I'm up for it. Let's see what happens." He also did not rule out the possibility for the band to reform only for a one-off performance rather than a full-length tour.
In September 2020, Osbourne stated in an interview that he was no longer interested in a reunion: "Not for me. It's done. The only thing I do regret is not doing the last farewell show in Birmingham with Bill Ward. I felt really bad about that. It would have been so nice. I don't know what the circumstances behind it were, but it would have been nice. I've talked to Tony a few times, but I don't have any of the slightest interest in doing another gig. Maybe Tony's getting bored now." Butler also ruled out the possibility of any future Black Sabbath performances in an interview with Eonmusic on 10 November 2020, stating that the band is over: "There will definitely be no more Sabbath. It's done." Iommi however, pondered the possibility of another reunion tour in an interview with The Mercury News, stating that he "would like to play with the guys again" and that he misses the audiences and stage. Bill Ward stated in an interview with Eddie Trunk that he no longer has the ability or chops to perform with Black Sabbath in concert, but expressed that he would love to make another album with Osbourne, Butler and Iommi.
Despite ruling out the possibility of another Black Sabbath reunion, Osbourne revealed in an episode of Ozzy Speaks on Ozzy's Boneyard that he is working with Iommi, who will appear as one of the guests for his upcoming thirteenth solo album. In an October 2021 interview with the Metro, Ward revealed that he has kept "in contact" with his former bandmates and stated that he is "very open-minded" to the possibility of recording another Black Sabbath album: "I haven't spoken to the guys about it, but I have talked to a couple of people in management about the possibility of making a recording."
On 30 September 2020, Black Sabbath announced a new Dr. Martens shoe collection. The partnership with the British footwear company celebrated the 50th anniversaries of the band's Black Sabbath and Paranoid albums, with the boots depicting artwork from the former. On 13 January 2021, the band announced that they would reissue both Heaven & Hell and Mob Rules as expanded deluxe editions on 5 March 2021, with unreleased material included.
Musical style
Black Sabbath were a heavy metal band, whose music has also been described as psychedelic rock, and acid rock. The band have also been cited as a key influence on genres including stoner rock, grunge, doom metal, and sludge metal. Early on, Black Sabbath were influenced by Cream, The Beatles, Fleetwood Mac, Jimi Hendrix, John Mayall & the Bluesbreakers, Blue Cheer, Led Zeppelin, and Jethro Tull.
Although Black Sabbath went through many line-ups and stylistic changes, their core sound focuses on ominous lyrics and doomy music, often making use of the musical tritone, also called the "devil's interval". While their Ozzy-era albums such as Sabbath Bloody Sabbath (1973) had slight compositional similarities to the progressive rock genre that was growing in popularity at the time, standing in stark contrast to popular music of the early 1970s, Black Sabbath's dark sound was dismissed by rock critics of the era. Much like many of their early heavy metal contemporaries, the band received virtually no airplay on rock radio.
As the band's primary songwriter, Tony Iommi wrote the majority of Black Sabbath's music, while Osbourne would write vocal melodies, and bassist Geezer Butler would write lyrics. The process was sometimes frustrating for Iommi, who often felt pressured to come up with new material: "If I didn't come up with anything, nobody would do anything." On Iommi's influence, Osbourne later said:
Beginning with their third album, Master of Reality (1971), Black Sabbath began to feature tuned-down guitars. In 1965, before forming Black Sabbath, guitarist Tony Iommi suffered an accident while working in a sheet metal factory, losing the tips of two fingers on his right hand. Iommi almost gave up music, but was urged by the factory manager to listen to Django Reinhardt, a jazz guitarist who lost the use of two fingers in a fire. Inspired by Reinhardt, Iommi created two thimbles made of plastic and leather to cap off his missing fingertips. The guitarist began using lighter strings, and detuning his guitar, to better grip the strings with his prosthesis. Early in the band's history Iommi experimented with different dropped tunings, including C tuning, or 3 semitones down, before settling on E/D tuning, or a half-step down from standard tuning.
Legacy
Black Sabbath has sold over 70 million records worldwide, including a RIAA-certified 15 million in the U.S. They are one of the most influential heavy metal bands of all time. The band helped to create the genre with ground-breaking releases such as Paranoid (1970), an album that Rolling Stone magazine said "changed music forever", and called the band "the Beatles of heavy metal". Time magazine called Paranoid "the birthplace of heavy metal", placing it in their Top 100 Albums of All Time.
MTV placed Black Sabbath at number one on their Top Ten Heavy Metal Bands and VH1 placed them at number two on their list of the 100 Greatest Artists of Hard Rock. VH1 ranked Black Sabbath's "Iron Man" the number one song on their 40 Greatest Metal Songs countdown. Rolling Stone magazine ranked the band number 85 in their list of the "100 Greatest Artists of All Time". AllMusic's William Ruhlmann said:
According to Rolling Stone Holly George-Warren, "Black Sabbath was the heavy metal king of the 1970s." Although initially "despised by rock critics and ignored by radio programmers", the group sold more than 8 million albums by the end of that decade. "The heavy metal band…" marvelled Ronnie James Dio. "A band that didn't apologise for coming to town; it just stepped on buildings when it came to town."
Influence and innovation
Black Sabbath have influenced many acts including Judas Priest, Iron Maiden, Diamond Head, Slayer, Metallica, Nirvana, Korn, Black Flag, Mayhem, Venom, Guns N' Roses, Soundgarden, Body Count, Alice in Chains, Anthrax, Disturbed, Death, Opeth, Pantera, Megadeth, the Smashing Pumpkins, Slipknot, Foo Fighters, Fear Factory, Candlemass, Godsmack, and Van Halen. Two gold selling tribute albums have been released, Nativity in Black Volume 1 & 2, including covers by Sepultura, White Zombie, Type O Negative, Faith No More, Machine Head, Primus, System of a Down, and Monster Magnet.
Metallica's Lars Ulrich, who, along with bandmate James Hetfield inducted Black Sabbath into the Rock and Roll Hall of Fame in 2006, said "Black Sabbath is and always will be synonymous with heavy metal", while Hetfield said "Sabbath got me started on all that evil-sounding shit, and it's stuck with me. Tony Iommi is the king of the heavy riff." Guns N' Roses guitarist Slash said of the Paranoid album: "There's just something about that whole record that, when you're a kid and you're turned onto it, it's like a whole different world. It just opens up your mind to another dimension...Paranoid is the whole Sabbath experience; very indicative of what Sabbath meant at the time. Tony's playing style—doesn't matter whether it's off Paranoid or if it's off Heaven and Hell—it's very distinctive." Anthrax guitarist Scott Ian said "I always get the question in every interview I do, 'What are your top five metal albums?' I make it easy for myself and always say the first five Sabbath albums."
Lamb of God's Chris Adler said: "If anybody who plays heavy metal says that they weren't influenced by Black Sabbath's music, then I think that they're lying to you. I think all heavy metal music was, in some way, influenced by what Black Sabbath did." Judas Priest vocalist Rob Halford commented: "They were and still are a groundbreaking band...you can put on the first Black Sabbath album and it still sounds as fresh today as it did 30-odd years ago. And that's because great music has a timeless ability: To me, Sabbath are in the same league as the Beatles or Mozart. They're on the leading edge of something extraordinary." On Black Sabbath's standing, Rage Against the Machine guitarist Tom Morello states: "The heaviest, scariest, coolest riffs and the apocalyptic Ozzy wail are without peer. You can hear the despair and menace of the working-class Birmingham streets they came from in every kick-ass, evil groove. Their arrival ground hippy, flower-power psychedelia to a pulp and set the standard for all heavy bands to come." Phil Anselmo of Pantera and Down stated that "Only a fool would leave out what Black Sabbath brought to the heavy metal genre".
According to Tracii Guns of L.A. Guns and former member of Guns N' Roses, the main riff of "Paradise City" by Guns N' Roses, from Appetite for Destruction (1987), was influenced by the song "Zero the Hero" from the Born Again album. King Diamond guitarist Andy LaRocque affirmed that the clean guitar part of "Sleepless Nights" from Conspiracy (1989) is inspired by Tony Iommi's playing on Never Say Die!.
In addition to being pioneers of heavy metal, they also have been credited for laying the foundations for heavy metal subgenres stoner rock, sludge metal, thrash metal, black metal and doom metal as well as for alternative rock subgenre grunge. According to the critic Bob Gulla, the band's sound "shows up in virtually all of grunge's most popular bands, including Nirvana, Soundgarden, and Alice in Chains".
Tony Iommi has been credited as the pioneer of lighter gauge guitar strings. The tips of his fingers were severed in a steel factory, and while using thimbles (artificial finger tips) he found that standard guitar strings were too difficult to bend and play. He found that there was only one size of strings available, so after years with Sabbath he had strings custom made.
Culturally, Black Sabbath have exerted a huge influence in both television and literature and have in many cases become synonymous with heavy metal. In the film Almost Famous, Lester Bangs gives the protagonist an assignment to cover the band (plot point one) with the immortal line: 'Give me 500 words on Black Sabbath'. Contemporary music and arts publication Trebuchet Magazine has put this to practice by asking all new writers to write a short piece (500 words) on Black Sabbath as a means of proving their creativity and voice on a well documented subject.
Band members
Original lineup
Tony Iommi – guitars
Bill Ward – drums
Geezer Butler – bass
Ozzy Osbourne – vocals, harmonica
Discography
Black Sabbath (1970)
Paranoid (1970)
Master of Reality (1971)
Vol. 4 (1972)
Sabbath Bloody Sabbath (1973)
Sabotage (1975)
Technical Ecstasy (1976)
Never Say Die! (1978)
Heaven and Hell (1980)
Mob Rules (1981)
Born Again (1983)
Seventh Star (1986)
The Eternal Idol (1987)
Headless Cross (1989)
Tyr (1990)
Dehumanizer (1992)
Cross Purposes (1994)
Forbidden (1995)
13'' (2013)
Tours
Polka Tulk Blues/Earth Tour 1968–1969
Black Sabbath Tour 1970
Paranoid Tour 1970–1971
Master of Reality Tour 1971–1972
Vol. 4 Tour 1972–1973
Sabbath Bloody Sabbath Tour 1973–1974
Sabotage Tour 1975–1976
Technical Ecstasy Tour 1976–1977
Never Say Die! Tour 1978
Heaven & Hell Tour 1980–1981
Mob Rules Tour 1981–1982
Born Again Tour 1983
Seventh Star Tour 1986
Eternal Idol Tour 1987
Headless Cross Tour 1989
Tyr Tour 1990
Dehumanizer Tour 1992
Cross Purposes Tour 1994
Forbidden Tour 1995
Ozzfest Tour 1997
European Tour 1998
Reunion Tour 1998–1999
Ozzfest Tour 1999
U.S. Tour 1999
European Tour 1999
Ozzfest Tour 2001
Ozzfest Tour 2004
European Tour 2005
Ozzfest Tour 2005
Black Sabbath Reunion Tour, 2012–2014
The End Tour 2016–2017
See also
List of cover versions of Black Sabbath songs
Heavy metal groups
References
Sources
External links
Black Sabbath biography by James Christopher Monger, discography and album reviews, credits & releases at AllMusic
Black Sabbath discography, album releases & credits at Discogs.com
Musical groups established in 1968
Musical groups disestablished in 2006
Musical groups reestablished in 2011
Musical groups disestablished in 2017
English heavy metal musical groups
Grammy Lifetime Achievement Award winners
1968 establishments in England
2017 disestablishments in England
Kerrang! Awards winners
I.R.S. Records artists
Vertigo Records artists
Musical groups from Birmingham, West Midlands
Musical quartets
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"The Appetite for Construction Tour was a three-month 2007 concert tour that was co-headlined by rock bands Switchfoot and Relient K, with special guests Ruth.\n\nThe tour was unique in that none of the bands involved were touring to push a new album or single. They embarked on the tour to benefit Habitat For Humanity, and donated one dollar per ticket sold to the organization. At end of the tour, the bands had raised over $100,000 for Habitat.\n\nSwitchfoot frontman Jon Foreman also co-wrote a song with Relient K singer Matt Thiessen called \"Rebuild\" for the tour. It was released as a \"donation single\" on Switchfoot's website, with options to donate time or money to Habitat For Humanity, in exchange for the song.\n\nThe tour was Tour Managed by Jennifer Manning and Production Managed by Scott Cannon. It played mostly in indoor arenas or stadiums, as opposed to small rock clubs, Switchfoot's favored stomping grounds. The tour's name is a reference to \"Appetite for Destruction\", the debut album of American hard rock band Guns N' Roses.\n\nShow and Set list\n\nRuth\nRuth was the first band to perform at the shows, playing 4-5 songs in a half-hour-long set.\n\nRelient K\nRelient K was the first of the headlining acts to perform, with their set usually lasting about an hour and a half. The set list featured hits like \"Be My Escape\" and \"Who I Am Hates Who I've Been\" from their 2004 breakthrough record, \"Mmhmm\", as well as some of their older classics and newer songs. The band did not perform an encore, playing all their songs in one set.\n\nThe band also routinely covered the theme from the hit TV show, The Office.\nFor the dance-floor favorite \"Sadie Hawkins Dance\", the band usually brought up people from the audience to play guitar and percussion instruments for the end of the song.\n\nSwitchfoot\nSwitchfoot was the second of the two headliners to play, and their set usually lasted about an hour and a half as well. Because they were co-headlining with Relient K, many of the songs on this tour were old favorites from the band's multi-platinum \"The Beautiful Letdown\", along with their singles.\n\nThe setlist generally consisted of the following, with minor variations in song order:\n\n \"Meant to Live intro''\n \"Oh! Gravity.\"\n \"Stars\"\n \"This Is Your Life\"\n \"Gone/Crazy In Love mash-up\"\n \"American Dream\"\n \"Dirty Second Hands\"\n \"We Are One Tonight\"\n \"Rebuild\"\n \"On Fire\"\n \"Awakening\"\n \"Meant to Live\"\n \"Rebuild\"\nEncore\n \"Only Hope\"\n \"Dare You to Move\"\n\nSongs like \"Ammunition\" and \"Head over Heels (In This Life)\" were also played in light rotation.\nRebuild was played with every band member from the other two bands on-stage.\n\nTour dates\n\nReferences\n\nExternal links\n Tour Press Release\n Tour End\n Habitat For Humanity Press video\n A Special Habitat For Humanity Report by Drew Shirley\n\n2007 concert tours\nSwitchfoot concert tours\nHabitat for Humanity\nChristian concert tours",
"Career Soldiers was a street punk band based in San Diego. The band have toured America and Canada with bands like The Casualties, Lower Class Brats, Monster Squad, Clit 45, U.K. Subs, Funeral Dress among others.\n\nHistory\nFormed in August 2002 with Jake on guitar and vocals, Ryan on bass and Brian on drums, the band recorded a demo and in November played their first shows with Thought Riot and Toxic Narcotic, after the mentioned presentations, the band decided to add a guitarist, so Jake could take care only of vocals. In December Derek joins the band, but leave in February 2003, replaced by Ricky. With a more stable formation, the band recorded the Passion for Destruction EP. Despite being a member, Ricky did not take part in the recording of the EP because he felt he didn't know the songs well enough.\n\nWhen Ricky was ready, the band booked shows with bands like A Global Threat, Lower Class Brats and Clit 45. In late 2003 the band recorded their debut full-length album titled Finding Freedom in Hopelessness, released in September 2004 by ADD Records, label property of Mark Civitarese, best known as Mark Unseen, vocalist of the Boston street punk band The Unseen, by the time the band also played shows with The Virus in Reno, Cheap Sex in Corona, and Defiance in Salt Lake City.\n\nIn August 2005 the band did a tour with Cheap Sex and The Havoc, followed by a tour with The Unseen and A Global Threat, from the West Coast to Boston. In 2006 the band booked a tour through the U.S., including dates in Canada with Clit 45 for the next six weeks. In the same year, Brian left the band, being replaced by Tay, who previously played with Negative Charge and Endless Struggle from Utah, also, the band finished writing new material, this would later become the album Loss of Words, released by Punk Core Records in 2007.\n\nOn December 31, 2008 the band announced on their website that they are officially broken up. They explain that the breakup was because Tay lives in Salt Lake City and they have to fly him out for every show. The financial expenses were too great, and finding a new drummer was a possibility, however, most bands lose their integrity when they get someone new that they do not know.\n\nDiscography\nLoss of Words - 2007, Punk Core Records\nFinding Freedom in Hopelessness - 2004, ADD Records\nPassion for Destruction - 2003, self-released\n\nExternal links\nOfficial website\nCareer Soldiers at MySpace\n\nReferences\n\nStreet punk groups\nHardcore punk groups from California\nMusical groups established in 2002\n2002 establishments in California"
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"William Randolph Hearst",
"Involvement in politics"
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C_157aad7f67974c55b20a22f3e235e87c_0
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When did he get involved in politics?
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When did William Randolph Hearst get involved in politics?
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William Randolph Hearst
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Hearst won two elections to Congress, then lost a series of elections. He narrowly failed in attempts to become mayor of New York City in both 1905 and 1909 and governor of New York in 1906, nominally remaining a Democrat while also creating the Independence Party. He was defeated for the governorship by Charles Evans Hughes. Hearst's unsuccessful campaigns for office after his tenure in the House of Representatives earned him the unflattering but short-lived nickname of "William 'Also-Randolph' Hearst", which was coined by Wallace Irwin. Hearst was on the left wing of the Progressive Movement, speaking on behalf of the working class (who bought his papers) and denouncing the rich and powerful (who disdained his editorials). With the support of Tammany Hall (the regular Democratic organization in Manhattan), he was elected to Congress in 1902 and 1904. He ran for the Democratic nomination for president in 1904, losing to a conservative New York judge, Alton B. Parker. Breaking with Tammany in 1907, Hearst ran for mayor of New York City under a third party of his own creation, the Municipal Ownership League). Tammany Hall exerted its utmost to defeat him. An opponent of the British Empire, Hearst opposed American involvement in the First World War and attacked the formation of the League of Nations. His newspapers abstained from endorsing any candidate in 1920 and 1924. Hearst's last bid for office came in 1922 when he was backed by Tammany Hall leaders for the U.S. Senate nomination in New York. Al Smith vetoed this, earning the lasting enmity of Hearst. Although Hearst shared Smith's opposition to Prohibition, he swung his papers behind Herbert Hoover in the 1928 presidential election. Hearst's support for Franklin D. Roosevelt at the 1932 Democratic National Convention, via his allies William Gibbs McAdoo and John Nance Garner, can also be seen as part of his vendetta against Smith, who was an opponent of Roosevelt's at that convention. CANNOTANSWER
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He narrowly failed in attempts to become mayor of New York City in both 1905 and 1909 and governor of New York in 1906,
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William Randolph Hearst Sr. (; April 29, 1863 – August 14, 1951) was an American businessman, newspaper publisher, and politician known for developing the nation's largest newspaper chain and media company, Hearst Communications. His flamboyant methods of yellow journalism influenced the nation's popular media by emphasizing sensationalism and human interest stories. Hearst entered the publishing business in 1887 with Mitchell Trubitt after being given control of The San Francisco Examiner by his wealthy father, Senator George Hearst.
After moving to New York City, Hearst acquired the New York Journal and fought a bitter circulation war with Joseph Pulitzer's New York World. Hearst sold papers by printing giant headlines over lurid stories featuring crime, corruption, sex, and innuendo. Hearst acquired more newspapers and created a chain that numbered nearly 30 papers in major American cities at its peak. He later expanded to magazines, creating the largest newspaper and magazine business in the world. Hearst controlled the editorial positions and coverage of political news in all his papers and magazines, and thereby often published his personal views. He sensationalized Spanish atrocities in Cuba while calling for war in 1898 against Spain. Historians, however, reject his subsequent claims to have started the war with Spain as overly extravagant.
He was twice elected as a Democrat to the U.S. House of Representatives. He ran unsuccessfully for President of the United States in 1904, Mayor of New York City in 1905 and 1909, and for Governor of New York in 1906. During his political career, he espoused views generally associated with the left wing of the Progressive Movement, claiming to speak on behalf of the working class.
After 1918 and the end of World War I, Hearst gradually began adopting more conservative views and started promoting an isolationist foreign policy to avoid any more entanglement in what he regarded as corrupt European affairs. He was at once a militant nationalist, a fierce anti-communist after the Russian Revolution, and deeply suspicious of the League of Nations and of the British, French, Japanese, and Russians. He was a leading supporter of Franklin D. Roosevelt in 1932–1934, but then broke with FDR and became his most prominent enemy on the right. Hearst's empire reached a peak circulation of 20 million readers a day in the mid-1930s. He was a bad manager of finances and so deeply in debt during the Great Depression that most of his assets had to be liquidated in the late 1930s. Hearst managed to keep his newspapers and magazines.
His life story was the main inspiration for Charles Foster Kane, the lead character in Orson Welles's film Citizen Kane (1941). His Hearst Castle, constructed on a hill overlooking the Pacific Ocean near San Simeon, has been preserved as a State Historical Monument and is designated as a National Historic Landmark.
Ancestry and early life
William R. Hearst was born in San Francisco to George Hearst, a millionaire mining engineer, owner of gold and other mines through his corporation, and his much younger wife Phoebe Apperson Hearst, from a small town in Missouri. The elder Hearst later entered politics, and served as a US Senator, first appointed for a brief period in 1886, then elected later that year. He served from 1887 to his death in 1891.
His paternal great-grandfather was John Hearst of Ulster Protestant origin. John Hearst, with his wife and six children, migrated to America from Ballybay, County Monaghan, Ireland, as part of the Cahans Exodus in 1766, and settled in South Carolina. Their immigration to South Carolina was spurred in part by the colonial government's policy that encouraged the immigration of Irish Protestants, many of Scots origin. The names "John Hearse" and "John Hearse Jr." appear on the council records of October 26, 1766, being credited with meriting of land on the Long Canes (in what became Abbeville District), based upon to heads of household and for each dependent of a Protestant immigrant. The "Hearse" spelling of the family name never was used afterward by the family members themselves, or any family of any size. A separate theory purports that one branch of a "Hurst" family of Virginia (originally from Plymouth Colony) moved to South Carolina at about the same time and changed the spelling of its surname of over a century to that of the immigrant Hearsts. Hearst's mother, née Phoebe Elizabeth Apperson, was also of Scots-Irish ancestry; her family came from Galway. She was appointed as the first woman regent of University of California, Berkeley, donated funds to establish libraries at several universities, funded many anthropological expeditions, and founded the Phoebe A. Hearst Museum of Anthropology.
Hearst attended prep school at St. Paul's School in Concord, New Hampshire. He enrolled in the Harvard College class of 1885. While there he was a member of Delta Kappa Epsilon, the A.D. Club (a Harvard Final club), the Hasty Pudding Theatricals, and of the Lampoon before being expelled. His antics had ranged from sponsoring massive beer parties in Harvard Square to sending pudding pots used as chamber pots to his professors (their images were depicted within the bowls).
Publishing business
Searching for an occupation, in 1887 Hearst took over management of his father's newspaper, the San Francisco Examiner, which his father had acquired in 1880 as repayment for a gambling debt. Giving his paper the grand motto "Monarch of the Dailies", Hearst acquired the best equipment and the most talented writers of the time, including Ambrose Bierce, Mark Twain, Jack London, and political cartoonist Homer Davenport. A self-proclaimed populist, Hearst reported accounts of municipal and financial corruption, often attacking companies in which his own family held an interest. Within a few years, his paper dominated the San Francisco market.
New York Morning Journal
Early in his career at the San Francisco Examiner, Hearst envisioned running a large newspaper chain, and "always knew that his dream of a nation-spanning, multi-paper news operation was impossible without a triumph in New York". In 1895, with the financial support of his widowed mother (his father had died in 1891), Hearst bought the failing New York Morning Journal, hiring writers such as Stephen Crane and Julian Hawthorne, and entering into a head-to-head circulation war with Joseph Pulitzer, owner and publisher of the New York World. Hearst "stole" Richard F. Outcault, the creator of color comics, and all of Pulitzer's Sunday staff as well. Another prominent hire was James J. Montague, who came from the Portland Oregonian and started his well-known "More Truth Than Poetry" column at the Hearst-owned New York Evening Journal.
When Hearst purchased the "penny paper", so called because its copies sold for a penny apiece, the Journal was competing with New York's 16 other major dailies. It had a strong focus on Democratic Party politics. Hearst imported his best managers from the San Francisco Examiner and "quickly established himself as the most attractive employer" among New York newspapers. He was generous, paid more than his competitors, gave credit to his writers with page-one bylines, and was unfailingly polite, unassuming, "impeccably calm", and indulgent of "prima donnas, eccentrics, bohemians, drunks, or reprobates so long as they had useful talents".
Hearst's activist approach to journalism can be summarized by the motto, "While others Talk, the Journal Acts."
Yellow journalism and rivalry with the New York World
The New York Journal and its chief rival, the New York World, mastered a style of popular journalism that came to be derided as "yellow journalism", after Outcault's Yellow Kid comic. Pulitzer's World had pushed the boundaries of mass appeal for newspapers through bold headlines, aggressive news gathering, generous use of cartoons and illustrations, populist politics, progressive crusades, an exuberant public spirit, and dramatic crime and human-interest stories. Hearst's Journal used the same recipe for success, forcing Pulitzer to drop the price of the World from two cents to a penny. Soon the two papers were locked in a fierce, often spiteful competition for readers in which both papers spent large sums of money and saw huge gains in circulation.
Within a few months of purchasing the Journal, Hearst hired away Pulitzer's three top editors: Sunday editor Morrill Goddard, who greatly expanded the scope and appeal of the American Sunday newspaper; Solomon Carvalho, and a young Arthur Brisbane, who became managing editor of the Hearst newspaper empire, and a legendary columnist. Contrary to popular assumption, they were not lured away by higher pay—rather, each man had grown tired of the temperamental, domineering Pulitzer and the paranoid, back-biting office politics which he encouraged.
While Hearst's many critics attribute the Journals incredible success to cheap sensationalism, Kenneth Whyte noted in The Uncrowned King: The Sensational Rise Of William Randolph Hearst: "Rather than racing to the bottom, he [Hearst] drove the Journal and the penny press upmarket. The Journal was a demanding, sophisticated paper by contemporary standards." Though yellow journalism would be much maligned, Whyte said, "All good yellow journalists ... sought the human in every story and edited without fear of emotion or drama. They wore their feelings on their pages, believing it was an honest and wholesome way to communicate with readers", but, as Whyte pointed out: "This appeal to feelings is not an end in itself... [they believed] our emotions tend to ignite our intellects: a story catering to a reader's feelings is more likely than a dry treatise to stimulate thought."
The two papers finally declared a truce in late 1898, after both lost vast amounts of money covering the Spanish–American War. Hearst probably lost several million dollars in his first three years as publisher of the Journal (figures are impossible to verify) but the paper began turning a profit after it ended its fight with the World.
Under Hearst, the Journal remained loyal to the populist or left wing of the Democratic Party. It was the only major publication in the East to support William Jennings Bryan in 1896. Its coverage of that election was probably the most important of any newspaper in the country, attacking relentlessly the unprecedented role of money in the Republican campaign and the dominating role played by William McKinley's political and financial manager, Mark Hanna, the first national party 'boss' in American history. A year after taking over the paper, Hearst could boast that sales of the Journal's post-election issue (including the evening and German-language editions) topped 1.5 million, a record "unparalleled in the history of the world."
The Journal's political coverage, however, was not entirely one-sided. Kenneth Whyte says that most editors of the time "believed their papers should speak with one voice on political matters"; by contrast, in New York, Hearst "helped to usher in the multi-perspective approach we identify with the modern op-ed page". At first he supported the Russian Revolution of 1917 but later he turned against it. Hearst fought hard against Wilsonian internationalism, the League of Nations, and the World Court, thereby appealing to an isolationist audience.
Spanish–American War
The Morning Journal's daily circulation routinely climbed above the 1 million mark after the sinking of the and U.S. entry into the Spanish–American War, a war that some called The Journals War, due to the paper's immense influence in provoking American outrage against Spain. Much of the coverage leading up to the war, beginning with the outbreak of the Cuban Revolution in 1895, was tainted by rumor, propaganda, and sensationalism, with the "yellow" papers regarded as the worst offenders. The Journal and other New York newspapers were so one-sided and full of errors in their reporting that coverage of the Cuban crisis and the ensuing Spanish–American War is often cited as one of the most significant milestones in the rise of yellow journalism's hold over the mainstream media. Huge headlines in the Journal assigned blame for the Maine's destruction on sabotage, which was based on no evidence. This reporting stoked outrage and indignation against Spain among the paper's readers in New York.
The Journal's crusade against Spanish rule in Cuba was not due to mere jingoism, although "the democratic ideals and humanitarianism that inspired their coverage are largely lost to history," as are their "heroic efforts to find the truth on the island under unusually difficult circumstances." The Journal's journalistic activism in support of the Cuban rebels, rather, was centered around Hearst's political and business ambitions.
Perhaps the best known myth in American journalism is the claim, without any contemporary evidence, that the illustrator Frederic Remington, sent by Hearst to Cuba to cover the Cuban War of Independence, cabled Hearst to tell him all was quiet in Cuba. Hearst, in this canard, is said to have responded, "Please remain. You furnish the pictures and I'll furnish the war."
Hearst was personally dedicated to the cause of the Cuban rebels, and the Journal did some of the most important and courageous reporting on the conflict—as well as some of the most sensationalized. Their stories on the Cuban rebellion and Spain's atrocities on the island—many of which turned out to be untrue—were motivated primarily by Hearst's outrage at Spain's brutal policies on the island. These had resulted in the deaths of hundreds of thousands of innocent Cubans. The most well-known story involved the imprisonment and escape of Cuban prisoner Evangelina Cisneros.
While Hearst and the yellow press did not directly cause America's war with Spain, they inflamed public opinion in New York City to a fever pitch. New York's elites read other papers, such as the Times and Sun, which were far more restrained. The Journal and the World were local papers oriented to a very large working class audience in New York City. They were not among the top ten sources of news in papers in other cities, and their stories did not make a splash outside New York City. Outrage across the country came from evidence of what Spain was doing in Cuba, a major influence in the decision by Congress to declare war.
According to a 21st-century historian, war was declared by Congress because public opinion was sickened by the bloodshed, and because leaders like McKinley realized that Spain had lost control of Cuba. These factors weighed more on the president's mind than the melodramas in the New York Journal.
Hearst sailed to Cuba with a small army of Journal reporters to cover the Spanish–American War; they brought along portable printing equipment, which was used to print a single-edition newspaper in Cuba after the fighting had ended. Two of the Journal's correspondents, James Creelman and Edward Marshall, were wounded in the fighting. A leader of the Cuban rebels, Gen. Calixto García, gave Hearst a Cuban flag that had been riddled with bullets as a gift, in appreciation of Hearst's major role in Cuba's liberation.
Expansion
In part to aid in his political ambitions, Hearst opened newspapers in other cities, among them Chicago, Los Angeles and Boston. In 1915, he founded International Film Service, an animation studio designed to exploit the popularity of the comic strips he controlled. The creation of his Chicago paper was requested by the Democratic National Committee. Hearst used this as an excuse for his mother Phoebe Hearst to transfer him the necessary start-up funds. By the mid-1920s he had a nationwide string of 28 newspapers, among them the Los Angeles Examiner, the Boston American, the Atlanta Georgian, the Chicago Examiner, the Detroit Times, the Seattle Post-Intelligencer, the Washington Times, the Washington Herald, and his flagship, the San Francisco Examiner.
Hearst also diversified his publishing interests into book publishing and magazines. Several of the latter are still in circulation, including such periodicals as Cosmopolitan, Good Housekeeping, Town and Country, and Harper's Bazaar.
In 1924, Hearst opened the New York Daily Mirror, a racy tabloid frankly imitating the New York Daily News. Among his other holdings were two news services, Universal News and International News Service, or INS, the latter of which he founded in 1909. He also owned INS companion radio station WINS in New York; King Features Syndicate, which still owns the copyrights of a number of popular comics characters; a film company, Cosmopolitan Productions; extensive New York City real estate; and thousands of acres of land in California and Mexico, along with timber and mining interests inherited from his father.
Hearst promoted writers and cartoonists despite the lack of any apparent demand for them by his readers. The press critic A. J. Liebling reminds us how many of Hearst's stars would not have been deemed employable elsewhere. One Hearst favorite, George Herriman, was the inventor of the dizzy comic strip Krazy Kat. Not especially popular with either readers or editors when it was first published, in the 21st century, it is considered a classic, a belief once held only by Hearst himself.
In 1929, he became one of the sponsors of the first round-the-world voyage in an airship, the LZ 127 Graf Zeppelin from Germany. His sponsorship was conditional on the trip starting at Lakehurst Naval Air Station, New Jersey. The ship's captain, Dr. Hugo Eckener, first flew the Graf Zeppelin across the Atlantic from Germany to pick up Hearst's photographer and at least three Hearst correspondents. One of them, Grace Marguerite Hay Drummond-Hay, by that flight became the first woman to travel around the world by air.
The Hearst news empire reached a revenue peak about 1928, but the economic collapse of the Great Depression in the United States and the vast over-extension of his empire cost him control of his holdings. It is unlikely that the newspapers ever paid their own way; mining, ranching and forestry provided whatever dividends the Hearst Corporation paid out. When the collapse came, all Hearst properties were hit hard, but none more so than the papers. Hearst's conservative politics, increasingly at odds with those of his readers, worsened matters for the once great Hearst media chain. Having been refused the right to sell another round of bonds to unsuspecting investors, the shaky empire tottered. Unable to service its existing debts, Hearst Corporation faced a court-mandated reorganization in 1937.
From that point, Hearst was reduced to being an employee, subject to the directives of an outside manager. Newspapers and other properties were liquidated, the film company shut down; there was even a well-publicized sale of art and antiquities. While World War II restored circulation and advertising revenues, his great days were over. The Hearst Corporation continues to this day as a large, privately held media conglomerate based in New York City.
Involvement in politics
Hearst won two elections to Congress, then lost a series of elections. He narrowly failed in attempts to become mayor of New York City in both 1905 and 1909 and governor of New York in 1906, nominally remaining a Democrat while also creating the Independence Party. He was defeated for the governorship by Charles Evans Hughes. Hearst's unsuccessful campaigns for office after his tenure in the House of Representatives earned him the unflattering but short-lived nickname of "William 'Also-Randolph' Hearst", which was coined by Wallace Irwin.
Hearst was on the left wing of the Progressive Movement, speaking on behalf of the working class (who bought his papers) and denouncing the rich and powerful (who disdained his editorials). With the support of Tammany Hall (the regular Democratic organization in Manhattan), Hearst was elected to Congress from New York in 1902 and 1904. He made a major effort to win the 1904 Democratic nomination for president, losing to conservative Alton B. Parker. Breaking with Tammany in 1907, Hearst ran for mayor of New York City under a third party of his own creation, the Municipal Ownership League. Tammany Hall exerted its utmost to defeat him.
An opponent of the British Empire, Hearst opposed American involvement in the First World War and attacked the formation of the League of Nations. His newspapers abstained from endorsing any candidate in 1920 and 1924. Hearst's last bid for office came in 1922, when he was backed by Tammany Hall leaders for the U.S. Senate nomination in New York. Al Smith vetoed this, earning the lasting enmity of Hearst. Although Hearst shared Smith's opposition to Prohibition, he swung his papers behind Herbert Hoover in the 1928 presidential election. Hearst's support for Franklin D. Roosevelt at the 1932 Democratic National Convention, via his allies William Gibbs McAdoo and John Nance Garner, can also be seen as part of his vendetta against Smith, who was an opponent of Roosevelt's at that convention.
Move to the right
During the 1920s Hearst was a Jeffersonian Democrat. He warned citizens against the dangers of big government and against unchecked federal power that could infringe on individual rights. Hearst supported FDR in 1932, but then became critical of the New Deal. More and more often, Hearst newspapers supported business over organized labor and condemned higher income tax legislation.
Hearst broke with FDR in spring 1935 when the president vetoed the Patman Bonus Bill for veterans and tried to enter the World Court. Hearst's papers were his weapon. They carried the publisher's rambling, vitriolic, all-capital-letters editorials, but he no longer employed the energetic reporters, editors, and columnists who might have made a serious attack. He reached 20 million readers in the mid-1930s, but they included much of the working class which Roosevelt had attracted by three-to-one margins in the 1936 election. The Hearst papers—like most major chains—had supported the Republican Alf Landon that year.
While campaigning against Roosevelt's policy of developing formal diplomatic relations with the Soviet Union, in 1935 Hearst ordered his editors to reprint eyewitness accounts of the Ukrainian famine (the Holdomor). These had been supplied in 1933 by Welsh freelance journalist Gareth Jones, and by the disillusioned American Communist Fred Beal. The New York Times, content with what it has since conceded was "tendentious" reporting of Soviet achievements, printed the blanket denials of its Pulitzer Prize-winning Moscow correspondent Walter Duranty. Duranty, who was widely credited with facilitating the rapprochement with Moscow, dismissed the Hearst-circulated reports of made-made starvation as a politically-motivated "scare story".
In the articles, written by Thomas Walker, to better serve Hearst 's editorial line against Roosevelt's Soviet policy the famine was "updated"; placed in 1934 rather than 1932-1933. In The Nation, Louis Fischer accused Walker of pure invention. Fischer had been to the Ukraine in 1934 and had seen no famine. He interpreted the whole affair as merely an attempt by Hearst to "spoil Soviet-American relations" as part of "an anti-red campaign".
In 1934, after checking with Jewish leaders to ensure a visit would be to their benefit, Hearst visited Berlin to interview Adolf Hitler. When Hitler asked why he was so misunderstood by the American press, Hearst retorted: "Because Americans believe in democracy, and are averse to dictatorship." Hearst's papers ran columns without rebuttal by Nazi leader Hermann Göring and Hitler himself, as well as Mussolini and other dictators in Europe and Latin America. During that same year 1934, Japan / U.S. relations were unstable. In an attempt to remedy this, Prince Tokugawa Iesato traveled throughout the United States on a goodwill visit. During his visit, Prince Iesato and his delegation met with William Randolph Hearst with the hope of improving mutual understanding between the two nations.
Personal life
Millicent Willson
In 1903, Hearst married Millicent Veronica Willson (1882–1974), a 21-year-old chorus girl, in New York City. Evidence in Louis Pizzitola's book, Hearst Over Hollywood, indicates that Millicent's mother Hannah Willson ran a Tammany-connected and protected brothel near the headquarters of political power in New York City at the turn of the 20th century. Millicent bore him five sons: George Randolph Hearst, born on April 23, 1904; William Randolph Hearst Jr., born on January 27, 1908; John Randolph Hearst, born in 1910; and twins Randolph Apperson Hearst and David Whitmire (né Elbert Willson) Hearst, born on December 2, 1915.
Marion Davies
Conceding an end to his political hopes, Hearst became involved in an affair with the film actress and comedian Marion Davies (1897–1961), former mistress of his friend Paul Block. From about 1919, he lived openly with her in California. After the death of Patricia Lake (1919/1923–1993), who had been presented as Davies's "niece," her family confirmed that she was Davies's and Hearst's daughter. She had acknowledged this before her death.
Millicent separated from Hearst in the mid-1920s after tiring of his longtime affair with Davies, but the couple remained legally married until Hearst's death. Millicent built an independent life for herself in New York City as a leading philanthropist. She was active in society and in 1921 created the Free Milk Fund for the poor.
California properties
Beginning in 1919, Hearst began to build Hearst Castle, which he never completed, on a ranch at San Simeon, California, which he had inherited from his father. He furnished the mansion with art, antiques, and entire historic rooms purchased and brought from the great houses of Europe. He established an Arabian horse breeding operation on the grounds.
Hearst also had a property on the McCloud River in Siskiyou County, in far northern California, called Wyntoon. The buildings at Wyntoon were designed by architect Julia Morgan, who also designed Hearst Castle and worked in collaboration with William J. Dodd on a number of other projects.
In 1947, Hearst paid $120,000 for an H-shaped Beverly Hills mansion, (located at 1011 N. Beverly Dr.), on 3.7 acres three blocks from Sunset Boulevard. The Beverly House, as it has come to be known, has some cinematic connections. According to Hearst Over Hollywood, John and Jacqueline Kennedy stayed at the house for part of their honeymoon. The house appeared in the film The Godfather (1972).
In the early 1890s, Hearst began building a mansion on the hills overlooking Pleasanton, California, on land purchased by his father a decade earlier. Hearst's mother took over the project, hired Julia Morgan to finish it as her home, and named it Hacienda del Pozo de Verona. After her death, it was acquired by Castlewood Country Club, which used it as their clubhouse from 1925 to 1969, when it was destroyed in a major fire.
Art collection
Hearst was renowned for his extensive collection of international art that spanned centuries. Most notable in his collection were his Greek vases, Spanish and Italian furniture, Oriental carpets, Renaissance vestments, an extensive library with many books signed by their authors, and paintings and statues. In addition to collecting pieces of fine art, he also gathered manuscripts, rare books, and autographs. His guests included varied celebrities and politicians, who stayed in rooms furnished with pieces of antique furniture and decorated with artwork by famous artists.
Beginning in 1937, Hearst began selling some of his art collection to help relieve the debt burden he had suffered from the Depression. The first year he sold items for a total of $11 million. In 1941 he put about 20,000 items up for sale; these were evidence of his wide and varied tastes. Included in the sale items were paintings by van Dyke, crosiers, chalices, Charles Dickens's sideboard, pulpits, stained glass, arms and armor, George Washington's waistcoat, and Thomas Jefferson's Bible. When Hearst Castle was donated to the State of California, it was still sufficiently furnished for the whole house to be considered and operated as a museum.
St Donat's Castle
After seeing photographs, in Country Life Magazine, of St. Donat's Castle in Vale of Glamorgan, Wales, Hearst bought and renovated it in 1925 as a gift to Davies. The Castle was restored by Hearst, who spent a fortune buying entire rooms from other castles and palaces across the UK and Europe. The Great Hall was bought from the Bradenstoke Priory in Wiltshire and reconstructed brick by brick in its current site at St. Donat's. From the Bradenstoke Priory, he also bought and removed the guest house, Prior's lodging, and great tithe barn; of these, some of the materials became the St. Donat's banqueting hall, complete with a sixteenth-century French chimney-piece and windows; also used were a fireplace dated to c. 1514 and a fourteenth-century roof, which became part of the Bradenstoke Hall, despite this use being questioned in Parliament. Hearst built 34 green and white marble bathrooms for the many guest suites in the castle and completed a series of terraced gardens which survive intact today. Hearst and Davies spent much of their time entertaining, and held a number of lavish parties attended by guests including Charlie Chaplin, Douglas Fairbanks, Winston Churchill, and a young John F. Kennedy. When Hearst died, the castle was purchased by Antonin Besse II and donated to Atlantic College, an international boarding school founded by Kurt Hahn in 1962, which still uses it.
Interest in aviation
Hearst was particularly interested in the newly emerging technologies relating to aviation and had his first experience of flight in January 1910, in Los Angeles. Louis Paulhan, a French aviator, took him for an air trip on his Farman biplane. Hearst also sponsored Old Glory as well as the Hearst Transcontinental Prize.
Financial disaster
Hearst's crusade against Roosevelt and the New Deal, combined with union strikes and boycotts of his properties, undermined the financial strength of his empire. Circulation of his major publications declined in the mid-1930s, while rivals such as the New York Daily News were flourishing. He refused to take effective cost-cutting measures, and instead increased his very expensive art purchases. His friend Joseph P. Kennedy offered to buy the magazines, but Hearst jealously guarded his empire and refused. Instead, he sold some of his heavily mortgaged real estate. San Simeon itself was mortgaged to Los Angeles Times owner Harry Chandler in 1933 for $600,000.
Finally his financial advisors realized he was tens of millions of dollars in debt, and could not pay the interest on the loans, let alone reduce the principal. The proposed bond sale failed to attract investors, as Hearst's financial crisis became widely known. As Marion Davies's stardom waned, Hearst's movies also began to hemorrhage money. As the crisis deepened, he let go of most of his household staff, sold his exotic animals to the Los Angeles Zoo, and named a trustee to control his finances. He still refused to sell his beloved newspapers. At one point, to avoid outright bankruptcy, he had to accept a $1 million loan from Marion Davies, who sold all her jewelry, stocks and bonds to raise the cash for him. Davies also managed to raise him another million as a loan from Washington Herald owner Cissy Patterson. The trustee cut Hearst's annual salary to $500,000, and stopped the annual payment of $700,000 in dividends. He had to pay rent for living in his castle at San Simeon.
Legally Hearst avoided bankruptcy, although the public generally saw it as such as appraisers went through the tapestries, paintings, furniture, silver, pottery, buildings, autographs, jewelry, and other collectibles. Items in the thousands were gathered from a five-story warehouse in New York, warehouses near San Simeon containing large amounts of Greek sculpture and ceramics, and the contents of St. Donat's. His collections were sold off in a series of auctions and private sales in 1938–39. John D. Rockefeller, Junior, bought $100,000 of antique silver for his new museum at Colonial Williamsburg. The market for art and antiques had not recovered from the depression, so Hearst made an overall loss of hundreds of thousands of dollars. During this time, Hearst's friend George Loorz commented sarcastically: "He would like to start work on the outside pool [at San Simeon], start a new reservoir etc. but told me yesterday 'I want so many things but haven't got the money.' Poor fellow, let's take up a collection."
He was embarrassed in early 1939 when Time magazine published a feature which revealed he was at risk of defaulting on his mortgage for San Simeon and losing it to his creditor and publishing rival, Harry Chandler. This, however, was averted, as Chandler agreed to extend the repayment.
Final years and death
After the disastrous financial losses of the 1930s, the Hearst Company returned to profitability during the Second World War, when advertising revenues skyrocketed. Hearst, after spending much of the war at his estate of Wyntoon, returned to San Simeon full-time in 1945 and resumed building works. He also continued collecting, on a reduced scale. He threw himself into philanthropy by donating a great many works to the Los Angeles County Museum of Art.
In 1947, Hearst left his San Simeon estate to seek medical care, which was unavailable in the remote location. He died in Beverly Hills on August 14, 1951, at the age of 88. He was interred in the Hearst family mausoleum at the Cypress Lawn Cemetery in Colma, California, which his parents had established.
His will established two charitable trusts, the Hearst Foundation and the William Randolph Hearst Foundation. By his amended will, Marion Davies inherited 170,000 shares in the Hearst Corporation, which, combined with a trust fund of 30,000 shares that Hearst had established for her in 1950, gave her a controlling interest in the corporation. This was short-lived, as she relinquished the 170,000 shares to the Corporation on October 30, 1951, retaining her original 30,000 shares and a role as an advisor. Like their father, none of Hearst's five sons graduated from college. They all followed their father into the media business, and Hearst's namesake, William Randolph, Jr., became a Pulitzer Prize–winning newspaper reporter.
Criticism
In the 1890s, the already existing anti-Chinese and anti-Asian racism in San Francisco were further fanned by Hearst's anti-non-European descents, which were reflected in the rhetoric and the focus in The Examiner and one of his own signed editorials. These prejudices continued to be the mainstays throughout his journalistic career to galvanize his readers’ fears. Hearst staunchly supported the Japanese-American internment during WWII and used his media power to demonize Japanese-Americans and to drum up support for the internment of Japanese-Americans.
Some media outlets have attempted to bring attention to Hearst's involvement in the prohibition of cannabis in America. Hearst collaborated with Harry J. Anslinger to ban hemp due to the threat that the burgeoning hemp paper industry posed to his major investment and market share in the paper milling industry. This partnership to market propaganda against cannabis also created an immeasurable, long-lasting negative impact on global socioeconomics. Due to their efforts, hemp would remain illegal to grow in the US for almost a century, not being legalized until 2018.
As Martin Lee and Norman Solomon noted in their 1990 book Unreliable Sources, Hearst "routinely invented sensational stories, faked interviews, ran phony pictures and distorted real events". This approach discredited "yellow journalism".
Hearst's use of yellow journalism techniques in his New York Journal to whip up popular support for U.S. military adventurism in Cuba, Puerto Rico and the Philippines in 1898 was also criticized in Upton Sinclair's 1919 book, The Brass Check: A Study of American Journalism. According to Sinclair, Hearst's newspapers distorted world events and deliberately tried to discredit Socialists. Another critic, Ferdinand Lundberg, extended the criticism in Imperial Hearst (1936), charging that Hearst papers accepted payments from abroad to slant the news. After the war, a further critic, George Seldes, repeated the charges in Facts and Fascism (1947). Lundberg described Hearst "the weakest strong man and the strongest weak man in the world today... a giant with feet of clay."
In fiction
Citizen Kane
The film Citizen Kane (released on May 1, 1941) is loosely based on Hearst's life. Welles and his collaborator, screenwriter Herman J. Mankiewicz, created Kane as a composite character, among them Harold Fowler McCormick, Samuel Insull and Howard Hughes. Hearst, enraged at the idea of Citizen Kane being a thinly disguised and very unflattering portrait of him, used his massive influence and resources to prevent the film from being released—all without even having seen it. Welles and the studio RKO Pictures resisted the pressure but Hearst and his Hollywood friends ultimately succeeded in pressuring theater chains to limit showings of Citizen Kane, resulting in only moderate box-office numbers and seriously impairing Welles's career prospects. The fight over the film was documented in the Academy Award-nominated documentary, The Battle Over Citizen Kane, and nearly 60 years later, HBO offered a fictionalized version of Hearst's efforts in its original production RKO 281 (1999), in which James Cromwell portrays Hearst. Citizen Kane has twice been ranked No. 1 on AFI's 100 Years...100 Movies: in 1998 and 2007. In 2020, David Fincher directed Mank, starring Gary Oldman as Herman J. Mankiewicz, as he interacts with Hearst prior to the writing of Citizen Kane'''s screenplay. Charles Dance portrays Hearst in the film.
Other works
Films
In the television film Rough Riders (1997), Hearst (played by George Hamilton) is depicted as travelling to Cuba with a small band of journalists, to personally cover the Spanish–American War.
Hearst is mentioned in the Disney movie Newsies (1992), directed by Kenny Ortega, which depicts the Newsboys' Strike of 1899. Hearst is never seen onscreen but is referenced by several of the newsies in various musical numbers, and is portrayed as an antagonist engaged in a bitter circulation war with Joseph Pulitzer.
In the HBO movie Winchell (1998), Kevin Tighe played Hearst.
In RKO 281 He was played by James Cromwell.
The Cat's Meow (2001), a fictitious version of the death of Thomas H. Ince, takes place in November 1924, on a weekend cruise aboard publisher William Randolph Hearst's yacht, celebrating Ince's 44th birthday. The film's fictionalizes Ince's death by suggesting that Hearst shot Ince and covered it up. Hearst is portrayed by Edward Herrmann. (Ince actually became severely ill aboard Hearst's private yacht, and the official cause of the filmmaker's death was heart failure.)
He is portrayed by Matthew Marsh in Agnieszka Holland's 2019 film, Mr Jones.
He is portrayed by Charles Dance in David Fincher's 2020 film, Mank.
Literature
John Dos Passos's novel The Big Money (1936) includes a biographical sketch of Hearst.
Jack London's futuristic, dystopian novel of 1907, The Iron Heel, refers to Hearst by name; and the plot "predicts" the destruction of his publishing empire (along with the Democratic Party) in 1912, by means of an oligarchy of plutocrats and industrial trusts engineering the cessation of his advertising revenue.
In Ayn Rand's novel The Fountainhead (1943) and its eponymous 1949 film adaptation), the character Gail Wynand, a newspaper magnate who thinks he can control public sentiment but in reality is only a servant of the masses, is inspired by and modeled after the life of William Randolph Hearst.
In John Steinbeck's novel The Grapes of Wrath (1939), Hearst is anonymously described as the "newspaper fella near the coast" who "got a million acres" and looks "crazy an' mean" in pictures (ch. 18).
In Gore Vidal's historic novel series, Narratives of Empire, Hearst is a major character.
Scott Westerfeld's novel Goliath (2011) depicts Hearst in World War I.
In Charlaine Harris' The Russian Cage (2021) Hearst was the ruler of the HRE (formerly west coast states of US) who permitted the tsar and his entourage to settle in the defunct Navy base at San Diego.
Television
The rivalry between Hearst and Joseph Pulitzer has been documented on National Geographic Channel's series American Genius (2015).
In the TNT series "The Alienist", in the second season played by Matt Letscher.
In "The Paper Dynasty" (1964) episode of the syndicated Western television series, Death Valley Days, hosted by Stanley Andrews. In the story line, Hearst (played by James Hampton) struggles to turn a profit despite increased circulation of The San Francisco Examiner, featuring James Lanphier (1920–1969) as Ambrose Bierce and Robert O. Cornthwaite as Sam Chamberlain.
In "The Odyssey", a 1979 episode of the television series Little House on the Prairie, Hearst (played by Bill Ewing) is depicted as a friendly and talented young San Francisco journalist.
Hearst (portrayed by John Colton) appears in the season 2 episode "Hollywoodland" of the NBC series Timeless.
See also
Hearst Ranch
History of American newspapers
The Hacienda (Milpitas Ranchhouse)
References
Notes
Citations
Sources
Further reading
Bernhardt, Mark. "The Selling of Sex, Sleaze, Scuttlebutt, and other Shocking Sensations: The Evolution of New Journalism in San Francisco, 1887–1900." American Journalism 28#4 (2011): 111–42.
Carlisle, Rodney. "The Foreign Policy Views of an Isolationist Press Lord: W. R. Hearst & the International Crisis, 1936–41" Journal of Contemporary History (1974) 9#3 pp. 217–27.
Goldstein, Benjamin S. “‘A Legend Somewhat Larger than Life’: Karl H. von Wiegand and the Trajectory of Hearstian Sensationalist Journalism*.” Historical Research 94, no. 265 (August 1, 2021): 629–59. https://doi.org/10.1093/hisres/htab019.
Kastner, Victoria, with a foreword by Stephen T. Hearst (2013). Hearst Ranch: Family, Land and Legacy. New York: H. N. Abrams. .
Kastner, Victoria, with photographs by Victoria Garagliano (2000). Hearst Castle: The Biography of a Country House. New York: H. N. Abrams. .
Kastner, Victoria, with photographs by Victoria Garagliano (2009). Hearst's San Simeon: The Gardens and the Land. New York: H. N. Abrams. .
Landers, James. "Hearst's Magazine, 1912–1914: Muckraking Sensationalist." Journalism History 38.4 (2013): 221.
Leonard, Thomas C. "Hearst, William Randolph"; American National Biography Online (2000). Access Date: May 12, 2016
Thomas, Evan. The war lovers: Roosevelt, Lodge, Hearst, and the rush to empire, 1898 (2010).
Winkler, John K. W.R. Hearst An American Phenomenon'', Jonathan Cape, (1928)
External links
Hearst the Collector at LACMA
Zpub.com: William Randolph Hearst biography
The William Randolph Hearst Art Archive at Long Island University
Guide to the William Randolph Hearst Papers at The Bancroft Library
Hearstcastle.org: Hearst Castle at San Simeon
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"\"Get Involved\" is a song by the American singer Ginuwine from his sixth studio album A Man's Thoughts (2009). The song was co-written by Missy Elliott and produced by Timbaland and featured guest vocals from the pair. Although the song was originally scheduled to be released in summer 2009 as the second single from the album, it was pushed back to 2010 as an international single from the album because of a dispute between Ginuwine and Timbaland.\n\nBackground\nIn 2007, when asked about who he would like to work with that would surprise people, Timbaland told Billboard, \"For personal reasons I'd like to work with Ginuwine.\" In November 2008, Ginuwine confirmed to the press that Timbaland would be featured on A Man's Thoughts.\n\nRelease and promotion\nThe song was first performed on 23 July 2009 on The Late Show with David Letterman. Ginuwine and Missy were the only performers from the song to appear; Timbaland was exempted. The song was officially released overseas as early as 29 January 2010. On 29 June 2010, a promotional CD release for the single was given a limited released in the United States. In 2011, a twelve-track E–single of the song was released in Spain. On 12 March 2012, the record label Smash The House released a digital three-track remix sampler exclusively via the online store Amazon.\n\nControversy\nAn initial dispute between Timbaland and Ginuwine dates back to October 2009, when Timbaland expressed disinterest in appearing in the \"Get Involved\" music video. In April 2010, Ginuwine told Vibe: \"He really hasn’t been interested in working with me, so I can’t speak on the present [...] The reason I'm pissed off at him now is because of what he did. I would've been cool and not bothered him if he would've said, 'Nah, I'm too busy,' or gave me the lame excuse like he's been giving me. But don't do it and then not do what you're supposed to do [to promote the song].\" Ginuwine later disclosed to the Atlanta radio station WAMJ that a settlement of over $50,000 was made for Timbaland to appear in the video. However, because of Timbaland's persistent disinterest, the single was shelved in the United States and was instead released overseas with an animated music video. In July 2011, Timbaland responded to Ginuwine's comments via BET.com, \"I know how he might feel. He might think that we abandoned him [...] We never would abandon him. He’s like a brother. But when you get everybody else, mix different managers... it changes every dynamic.\" Timbaland also added that he wanted to work with Ginuwine for the sake of their friendship and brotherhood. That same month, Ginuwine told MTV UK that he and Timbaland were cool and that they would converse at times via Twitter. He also added that a song with him, Missy and Timbaland would \"hopefully\" develop to show the \"magic\" they once had.\n\nFormats and track listings\n\n Australian iTunes single\n \"Get Involved\" (feat. Timbaland & Missy Elliott) — 3:37\n \"Get Involved\" (A Class Edit) — 3:00\n \"Get Involved\" (Marcus Knight Down South Remix) — 4:11\n \"Get Involved\" (N3sh & d'Aambrogio Remix) — 7:56\n \"Get Involved\" (Joe T Vanelii Remix) — 8:26\n \"Get Involved\" (Bernasconi & Farenthide Remix) — 5:16\n \"Get Involved\" (Rico Bernasconi Remix) — 5:34\n \"Get Involved\" (Jake & Cooper Mix) — 6:30\n\n European CD single\n \"Get Involved\" (A Class Edit) — 3:00\n \"Get Involved\" — 3:38\n\n Finnish Promo CDS\n \"Get Involved\" (Original Edit) — 3:41 \n \"Get Involved\" (A Class Video Edit) — 3:45 \n \"Get Involved\" (A Class Edit Mix) — 3:03 \n \"Get Involved\" (A Class Floor Mix) — 4:00 \n \"Get Involved\" (Bernasconi & Farenthide Remix) — 5:19 \n \"Get Involved\" (Rico Bernasconi Remix) — 5:36 \n \"Get Involved\" (Joe T Vannelli Remix) — 8:28 \n \"Get Involved\" (N3sh & D'Ambrogio Remix) — 7:58 \n \"Get Involved\" (Jake & Cooper Mix) — 6:31\n\n Italian 12\" vinyl\n \"Get Involved\" (Joe T Vannelli Remix) — 8:26\n \"Get Involved\" (Original Version) — 3:37\n \"Get Involved\" (N3sh & D'Ambrogio Remix) — 7:58\n \"Get Involved\" (Jake & Cooper Mix) — 6:30\n\n Italian CD single\n \"Get Involved\" (Original Version) — 3:40\n \"Get Involved\" (A-Class Video Mix) — 3:45\n \"Get Involved\" (Bernasconi & Farenthide Remix) — 5:19\n \"Get Involved\" (Joe T Vannelli Remix) — 8:28\n \"Get Involved\" (N3sh & D'Ambrogio Remix) — 7:58\n \"Get Involved\" (Jake & Cooper Mix) — 6:30\n\n Italian digital download\n \"Get Involved\" (Molella & Jerma Remix) — 6:32\n \"Get Involved\" (DJs from Mars Remix) — 5:57\n \"Get Involved\" (Paolo Aliberti & Francesco Andreoli) — 6:17\n \"Get Involved\" (Shorty Simosun Remix) — 7:12\n \"Get Involved\" (Mark & Shark Remix) — 4:39 \n \"Get Involved\" (Da Brozz Remix) — 4:36\n \"Get Involved\" (Andres Diamond Remix) — 5:37 \n \"Get Involved\" (Remakeit Remix) — 4:30\n\n Spanish E–single\n \"Get Involved\" (Kylian Mash Edit Re-Mix) — 3:14\n \"Get Involved\" — 3:38\n \"Get Involved\" (A Class Floor Mix) — 3:43\n \"Get Involved\" (A Class Video Mix) — 3:58\n \"Get Involved\" (Bernasconi & Farenthide Remix) — 5:16\n \"Get Involved\" (A Class Edit) — 3:00\n \"Get Involved\" (Dino Lenny & Taz Remix) — 6:13\n \"Get Involved\" (Jake & Cooper Mix) — 6:30\n \"Get Involved\" (Joe T Vanelii Remix) — 8:26\n \"Get Involved\" (Kylian Mash Extended Re-Mix) — 5:03\n \"Get Involved\" (N3sh & d'Aambrogio Remix) — 7:56\n \"Get Involved\" (Rico Bernasconi Remix) — 5:34\n\n UK Promo CDS\n \"Get Involved\" (Adam F & Herve's Stadium Kaos Vocal Remix)\n \"Get Involved\" (Adam F & Herve's Stadium Kaos Dub)\n\n US digital download\n \"Get Involved\" (Wolfpack Remix) — 5:15\n \"Get Involved\" (Yves V Remix) — 5:49\n \"Get Involved\" (Firebeatz Remix) — 6:35\n\nChart performance\n\"Get Involved\" was Ginuwine's first song in over six years to chart outside of the United States.\n\nRelease history\n\nReferences\n\n2009 songs\n2010 singles\nGinuwine songs\nMissy Elliott songs\nTimbaland songs\nSong recordings produced by Timbaland\nSongs written by Missy Elliott\nSongs written by Jerome \"J-Roc\" Harmon\nSong recordings produced by Jerome \"J-Roc\" Harmon\nSongs written by Ezekiel Lewis\nSongs written by Ginuwine\nSongs written by Patrick \"J. Que\" Smith\nSongs written by Timbaland",
"Haydn Davies (8 May 1905 – 18 April 1976) was a Welsh politician. He was Labour Member of Parliament (MP) for St Pancras South West from 1945 to 1950.\n\nEarly life \nHe was the son of Mr. A. Davies, colliery examiner and he joined the London education service in 1926.\n\nPolitical career \nHe would get involved in politics and ran as the Liberal party candidate for St Pancras South West at the 1929 General Election, when he finished third. He then switched to the Labour party, running as their candidate for St Pancras South West and won the seat with a majority of 3,671 votes. The constituency was then abolished and merged into neighboring ones and instead he ran as the candidate for York in the 1950 Election. He lost, coming second and losing to Harry Hylton-Foster. He did not run for another constituency after that.\n\nPolitical views \nDavies supported the BBC.\n\nDeath \n\nHe died on 18 April 1976 in Warwick & Leamington, Warwickshire, England.\n\nReferences\n\nExternal links \n \n\n1905 births\n1976 deaths\nUK MPs 1945–1950\nLabour Party (UK) MPs for English constituencies\nLiberal Party (UK) parliamentary candidates"
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"William Randolph Hearst",
"Involvement in politics",
"When did he get involved in politics?",
"He narrowly failed in attempts to become mayor of New York City in both 1905 and 1909 and governor of New York in 1906,"
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C_157aad7f67974c55b20a22f3e235e87c_0
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Did he attempt to run for any other offices?
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Did William Randolph Hearst attempt to run for any offices other than Mayor of New York City and governor of the state of New York??
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William Randolph Hearst
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Hearst won two elections to Congress, then lost a series of elections. He narrowly failed in attempts to become mayor of New York City in both 1905 and 1909 and governor of New York in 1906, nominally remaining a Democrat while also creating the Independence Party. He was defeated for the governorship by Charles Evans Hughes. Hearst's unsuccessful campaigns for office after his tenure in the House of Representatives earned him the unflattering but short-lived nickname of "William 'Also-Randolph' Hearst", which was coined by Wallace Irwin. Hearst was on the left wing of the Progressive Movement, speaking on behalf of the working class (who bought his papers) and denouncing the rich and powerful (who disdained his editorials). With the support of Tammany Hall (the regular Democratic organization in Manhattan), he was elected to Congress in 1902 and 1904. He ran for the Democratic nomination for president in 1904, losing to a conservative New York judge, Alton B. Parker. Breaking with Tammany in 1907, Hearst ran for mayor of New York City under a third party of his own creation, the Municipal Ownership League). Tammany Hall exerted its utmost to defeat him. An opponent of the British Empire, Hearst opposed American involvement in the First World War and attacked the formation of the League of Nations. His newspapers abstained from endorsing any candidate in 1920 and 1924. Hearst's last bid for office came in 1922 when he was backed by Tammany Hall leaders for the U.S. Senate nomination in New York. Al Smith vetoed this, earning the lasting enmity of Hearst. Although Hearst shared Smith's opposition to Prohibition, he swung his papers behind Herbert Hoover in the 1928 presidential election. Hearst's support for Franklin D. Roosevelt at the 1932 Democratic National Convention, via his allies William Gibbs McAdoo and John Nance Garner, can also be seen as part of his vendetta against Smith, who was an opponent of Roosevelt's at that convention. CANNOTANSWER
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He was defeated for the governorship by Charles Evans Hughes.
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William Randolph Hearst Sr. (; April 29, 1863 – August 14, 1951) was an American businessman, newspaper publisher, and politician known for developing the nation's largest newspaper chain and media company, Hearst Communications. His flamboyant methods of yellow journalism influenced the nation's popular media by emphasizing sensationalism and human interest stories. Hearst entered the publishing business in 1887 with Mitchell Trubitt after being given control of The San Francisco Examiner by his wealthy father, Senator George Hearst.
After moving to New York City, Hearst acquired the New York Journal and fought a bitter circulation war with Joseph Pulitzer's New York World. Hearst sold papers by printing giant headlines over lurid stories featuring crime, corruption, sex, and innuendo. Hearst acquired more newspapers and created a chain that numbered nearly 30 papers in major American cities at its peak. He later expanded to magazines, creating the largest newspaper and magazine business in the world. Hearst controlled the editorial positions and coverage of political news in all his papers and magazines, and thereby often published his personal views. He sensationalized Spanish atrocities in Cuba while calling for war in 1898 against Spain. Historians, however, reject his subsequent claims to have started the war with Spain as overly extravagant.
He was twice elected as a Democrat to the U.S. House of Representatives. He ran unsuccessfully for President of the United States in 1904, Mayor of New York City in 1905 and 1909, and for Governor of New York in 1906. During his political career, he espoused views generally associated with the left wing of the Progressive Movement, claiming to speak on behalf of the working class.
After 1918 and the end of World War I, Hearst gradually began adopting more conservative views and started promoting an isolationist foreign policy to avoid any more entanglement in what he regarded as corrupt European affairs. He was at once a militant nationalist, a fierce anti-communist after the Russian Revolution, and deeply suspicious of the League of Nations and of the British, French, Japanese, and Russians. He was a leading supporter of Franklin D. Roosevelt in 1932–1934, but then broke with FDR and became his most prominent enemy on the right. Hearst's empire reached a peak circulation of 20 million readers a day in the mid-1930s. He was a bad manager of finances and so deeply in debt during the Great Depression that most of his assets had to be liquidated in the late 1930s. Hearst managed to keep his newspapers and magazines.
His life story was the main inspiration for Charles Foster Kane, the lead character in Orson Welles's film Citizen Kane (1941). His Hearst Castle, constructed on a hill overlooking the Pacific Ocean near San Simeon, has been preserved as a State Historical Monument and is designated as a National Historic Landmark.
Ancestry and early life
William R. Hearst was born in San Francisco to George Hearst, a millionaire mining engineer, owner of gold and other mines through his corporation, and his much younger wife Phoebe Apperson Hearst, from a small town in Missouri. The elder Hearst later entered politics, and served as a US Senator, first appointed for a brief period in 1886, then elected later that year. He served from 1887 to his death in 1891.
His paternal great-grandfather was John Hearst of Ulster Protestant origin. John Hearst, with his wife and six children, migrated to America from Ballybay, County Monaghan, Ireland, as part of the Cahans Exodus in 1766, and settled in South Carolina. Their immigration to South Carolina was spurred in part by the colonial government's policy that encouraged the immigration of Irish Protestants, many of Scots origin. The names "John Hearse" and "John Hearse Jr." appear on the council records of October 26, 1766, being credited with meriting of land on the Long Canes (in what became Abbeville District), based upon to heads of household and for each dependent of a Protestant immigrant. The "Hearse" spelling of the family name never was used afterward by the family members themselves, or any family of any size. A separate theory purports that one branch of a "Hurst" family of Virginia (originally from Plymouth Colony) moved to South Carolina at about the same time and changed the spelling of its surname of over a century to that of the immigrant Hearsts. Hearst's mother, née Phoebe Elizabeth Apperson, was also of Scots-Irish ancestry; her family came from Galway. She was appointed as the first woman regent of University of California, Berkeley, donated funds to establish libraries at several universities, funded many anthropological expeditions, and founded the Phoebe A. Hearst Museum of Anthropology.
Hearst attended prep school at St. Paul's School in Concord, New Hampshire. He enrolled in the Harvard College class of 1885. While there he was a member of Delta Kappa Epsilon, the A.D. Club (a Harvard Final club), the Hasty Pudding Theatricals, and of the Lampoon before being expelled. His antics had ranged from sponsoring massive beer parties in Harvard Square to sending pudding pots used as chamber pots to his professors (their images were depicted within the bowls).
Publishing business
Searching for an occupation, in 1887 Hearst took over management of his father's newspaper, the San Francisco Examiner, which his father had acquired in 1880 as repayment for a gambling debt. Giving his paper the grand motto "Monarch of the Dailies", Hearst acquired the best equipment and the most talented writers of the time, including Ambrose Bierce, Mark Twain, Jack London, and political cartoonist Homer Davenport. A self-proclaimed populist, Hearst reported accounts of municipal and financial corruption, often attacking companies in which his own family held an interest. Within a few years, his paper dominated the San Francisco market.
New York Morning Journal
Early in his career at the San Francisco Examiner, Hearst envisioned running a large newspaper chain, and "always knew that his dream of a nation-spanning, multi-paper news operation was impossible without a triumph in New York". In 1895, with the financial support of his widowed mother (his father had died in 1891), Hearst bought the failing New York Morning Journal, hiring writers such as Stephen Crane and Julian Hawthorne, and entering into a head-to-head circulation war with Joseph Pulitzer, owner and publisher of the New York World. Hearst "stole" Richard F. Outcault, the creator of color comics, and all of Pulitzer's Sunday staff as well. Another prominent hire was James J. Montague, who came from the Portland Oregonian and started his well-known "More Truth Than Poetry" column at the Hearst-owned New York Evening Journal.
When Hearst purchased the "penny paper", so called because its copies sold for a penny apiece, the Journal was competing with New York's 16 other major dailies. It had a strong focus on Democratic Party politics. Hearst imported his best managers from the San Francisco Examiner and "quickly established himself as the most attractive employer" among New York newspapers. He was generous, paid more than his competitors, gave credit to his writers with page-one bylines, and was unfailingly polite, unassuming, "impeccably calm", and indulgent of "prima donnas, eccentrics, bohemians, drunks, or reprobates so long as they had useful talents".
Hearst's activist approach to journalism can be summarized by the motto, "While others Talk, the Journal Acts."
Yellow journalism and rivalry with the New York World
The New York Journal and its chief rival, the New York World, mastered a style of popular journalism that came to be derided as "yellow journalism", after Outcault's Yellow Kid comic. Pulitzer's World had pushed the boundaries of mass appeal for newspapers through bold headlines, aggressive news gathering, generous use of cartoons and illustrations, populist politics, progressive crusades, an exuberant public spirit, and dramatic crime and human-interest stories. Hearst's Journal used the same recipe for success, forcing Pulitzer to drop the price of the World from two cents to a penny. Soon the two papers were locked in a fierce, often spiteful competition for readers in which both papers spent large sums of money and saw huge gains in circulation.
Within a few months of purchasing the Journal, Hearst hired away Pulitzer's three top editors: Sunday editor Morrill Goddard, who greatly expanded the scope and appeal of the American Sunday newspaper; Solomon Carvalho, and a young Arthur Brisbane, who became managing editor of the Hearst newspaper empire, and a legendary columnist. Contrary to popular assumption, they were not lured away by higher pay—rather, each man had grown tired of the temperamental, domineering Pulitzer and the paranoid, back-biting office politics which he encouraged.
While Hearst's many critics attribute the Journals incredible success to cheap sensationalism, Kenneth Whyte noted in The Uncrowned King: The Sensational Rise Of William Randolph Hearst: "Rather than racing to the bottom, he [Hearst] drove the Journal and the penny press upmarket. The Journal was a demanding, sophisticated paper by contemporary standards." Though yellow journalism would be much maligned, Whyte said, "All good yellow journalists ... sought the human in every story and edited without fear of emotion or drama. They wore their feelings on their pages, believing it was an honest and wholesome way to communicate with readers", but, as Whyte pointed out: "This appeal to feelings is not an end in itself... [they believed] our emotions tend to ignite our intellects: a story catering to a reader's feelings is more likely than a dry treatise to stimulate thought."
The two papers finally declared a truce in late 1898, after both lost vast amounts of money covering the Spanish–American War. Hearst probably lost several million dollars in his first three years as publisher of the Journal (figures are impossible to verify) but the paper began turning a profit after it ended its fight with the World.
Under Hearst, the Journal remained loyal to the populist or left wing of the Democratic Party. It was the only major publication in the East to support William Jennings Bryan in 1896. Its coverage of that election was probably the most important of any newspaper in the country, attacking relentlessly the unprecedented role of money in the Republican campaign and the dominating role played by William McKinley's political and financial manager, Mark Hanna, the first national party 'boss' in American history. A year after taking over the paper, Hearst could boast that sales of the Journal's post-election issue (including the evening and German-language editions) topped 1.5 million, a record "unparalleled in the history of the world."
The Journal's political coverage, however, was not entirely one-sided. Kenneth Whyte says that most editors of the time "believed their papers should speak with one voice on political matters"; by contrast, in New York, Hearst "helped to usher in the multi-perspective approach we identify with the modern op-ed page". At first he supported the Russian Revolution of 1917 but later he turned against it. Hearst fought hard against Wilsonian internationalism, the League of Nations, and the World Court, thereby appealing to an isolationist audience.
Spanish–American War
The Morning Journal's daily circulation routinely climbed above the 1 million mark after the sinking of the and U.S. entry into the Spanish–American War, a war that some called The Journals War, due to the paper's immense influence in provoking American outrage against Spain. Much of the coverage leading up to the war, beginning with the outbreak of the Cuban Revolution in 1895, was tainted by rumor, propaganda, and sensationalism, with the "yellow" papers regarded as the worst offenders. The Journal and other New York newspapers were so one-sided and full of errors in their reporting that coverage of the Cuban crisis and the ensuing Spanish–American War is often cited as one of the most significant milestones in the rise of yellow journalism's hold over the mainstream media. Huge headlines in the Journal assigned blame for the Maine's destruction on sabotage, which was based on no evidence. This reporting stoked outrage and indignation against Spain among the paper's readers in New York.
The Journal's crusade against Spanish rule in Cuba was not due to mere jingoism, although "the democratic ideals and humanitarianism that inspired their coverage are largely lost to history," as are their "heroic efforts to find the truth on the island under unusually difficult circumstances." The Journal's journalistic activism in support of the Cuban rebels, rather, was centered around Hearst's political and business ambitions.
Perhaps the best known myth in American journalism is the claim, without any contemporary evidence, that the illustrator Frederic Remington, sent by Hearst to Cuba to cover the Cuban War of Independence, cabled Hearst to tell him all was quiet in Cuba. Hearst, in this canard, is said to have responded, "Please remain. You furnish the pictures and I'll furnish the war."
Hearst was personally dedicated to the cause of the Cuban rebels, and the Journal did some of the most important and courageous reporting on the conflict—as well as some of the most sensationalized. Their stories on the Cuban rebellion and Spain's atrocities on the island—many of which turned out to be untrue—were motivated primarily by Hearst's outrage at Spain's brutal policies on the island. These had resulted in the deaths of hundreds of thousands of innocent Cubans. The most well-known story involved the imprisonment and escape of Cuban prisoner Evangelina Cisneros.
While Hearst and the yellow press did not directly cause America's war with Spain, they inflamed public opinion in New York City to a fever pitch. New York's elites read other papers, such as the Times and Sun, which were far more restrained. The Journal and the World were local papers oriented to a very large working class audience in New York City. They were not among the top ten sources of news in papers in other cities, and their stories did not make a splash outside New York City. Outrage across the country came from evidence of what Spain was doing in Cuba, a major influence in the decision by Congress to declare war.
According to a 21st-century historian, war was declared by Congress because public opinion was sickened by the bloodshed, and because leaders like McKinley realized that Spain had lost control of Cuba. These factors weighed more on the president's mind than the melodramas in the New York Journal.
Hearst sailed to Cuba with a small army of Journal reporters to cover the Spanish–American War; they brought along portable printing equipment, which was used to print a single-edition newspaper in Cuba after the fighting had ended. Two of the Journal's correspondents, James Creelman and Edward Marshall, were wounded in the fighting. A leader of the Cuban rebels, Gen. Calixto García, gave Hearst a Cuban flag that had been riddled with bullets as a gift, in appreciation of Hearst's major role in Cuba's liberation.
Expansion
In part to aid in his political ambitions, Hearst opened newspapers in other cities, among them Chicago, Los Angeles and Boston. In 1915, he founded International Film Service, an animation studio designed to exploit the popularity of the comic strips he controlled. The creation of his Chicago paper was requested by the Democratic National Committee. Hearst used this as an excuse for his mother Phoebe Hearst to transfer him the necessary start-up funds. By the mid-1920s he had a nationwide string of 28 newspapers, among them the Los Angeles Examiner, the Boston American, the Atlanta Georgian, the Chicago Examiner, the Detroit Times, the Seattle Post-Intelligencer, the Washington Times, the Washington Herald, and his flagship, the San Francisco Examiner.
Hearst also diversified his publishing interests into book publishing and magazines. Several of the latter are still in circulation, including such periodicals as Cosmopolitan, Good Housekeeping, Town and Country, and Harper's Bazaar.
In 1924, Hearst opened the New York Daily Mirror, a racy tabloid frankly imitating the New York Daily News. Among his other holdings were two news services, Universal News and International News Service, or INS, the latter of which he founded in 1909. He also owned INS companion radio station WINS in New York; King Features Syndicate, which still owns the copyrights of a number of popular comics characters; a film company, Cosmopolitan Productions; extensive New York City real estate; and thousands of acres of land in California and Mexico, along with timber and mining interests inherited from his father.
Hearst promoted writers and cartoonists despite the lack of any apparent demand for them by his readers. The press critic A. J. Liebling reminds us how many of Hearst's stars would not have been deemed employable elsewhere. One Hearst favorite, George Herriman, was the inventor of the dizzy comic strip Krazy Kat. Not especially popular with either readers or editors when it was first published, in the 21st century, it is considered a classic, a belief once held only by Hearst himself.
In 1929, he became one of the sponsors of the first round-the-world voyage in an airship, the LZ 127 Graf Zeppelin from Germany. His sponsorship was conditional on the trip starting at Lakehurst Naval Air Station, New Jersey. The ship's captain, Dr. Hugo Eckener, first flew the Graf Zeppelin across the Atlantic from Germany to pick up Hearst's photographer and at least three Hearst correspondents. One of them, Grace Marguerite Hay Drummond-Hay, by that flight became the first woman to travel around the world by air.
The Hearst news empire reached a revenue peak about 1928, but the economic collapse of the Great Depression in the United States and the vast over-extension of his empire cost him control of his holdings. It is unlikely that the newspapers ever paid their own way; mining, ranching and forestry provided whatever dividends the Hearst Corporation paid out. When the collapse came, all Hearst properties were hit hard, but none more so than the papers. Hearst's conservative politics, increasingly at odds with those of his readers, worsened matters for the once great Hearst media chain. Having been refused the right to sell another round of bonds to unsuspecting investors, the shaky empire tottered. Unable to service its existing debts, Hearst Corporation faced a court-mandated reorganization in 1937.
From that point, Hearst was reduced to being an employee, subject to the directives of an outside manager. Newspapers and other properties were liquidated, the film company shut down; there was even a well-publicized sale of art and antiquities. While World War II restored circulation and advertising revenues, his great days were over. The Hearst Corporation continues to this day as a large, privately held media conglomerate based in New York City.
Involvement in politics
Hearst won two elections to Congress, then lost a series of elections. He narrowly failed in attempts to become mayor of New York City in both 1905 and 1909 and governor of New York in 1906, nominally remaining a Democrat while also creating the Independence Party. He was defeated for the governorship by Charles Evans Hughes. Hearst's unsuccessful campaigns for office after his tenure in the House of Representatives earned him the unflattering but short-lived nickname of "William 'Also-Randolph' Hearst", which was coined by Wallace Irwin.
Hearst was on the left wing of the Progressive Movement, speaking on behalf of the working class (who bought his papers) and denouncing the rich and powerful (who disdained his editorials). With the support of Tammany Hall (the regular Democratic organization in Manhattan), Hearst was elected to Congress from New York in 1902 and 1904. He made a major effort to win the 1904 Democratic nomination for president, losing to conservative Alton B. Parker. Breaking with Tammany in 1907, Hearst ran for mayor of New York City under a third party of his own creation, the Municipal Ownership League. Tammany Hall exerted its utmost to defeat him.
An opponent of the British Empire, Hearst opposed American involvement in the First World War and attacked the formation of the League of Nations. His newspapers abstained from endorsing any candidate in 1920 and 1924. Hearst's last bid for office came in 1922, when he was backed by Tammany Hall leaders for the U.S. Senate nomination in New York. Al Smith vetoed this, earning the lasting enmity of Hearst. Although Hearst shared Smith's opposition to Prohibition, he swung his papers behind Herbert Hoover in the 1928 presidential election. Hearst's support for Franklin D. Roosevelt at the 1932 Democratic National Convention, via his allies William Gibbs McAdoo and John Nance Garner, can also be seen as part of his vendetta against Smith, who was an opponent of Roosevelt's at that convention.
Move to the right
During the 1920s Hearst was a Jeffersonian Democrat. He warned citizens against the dangers of big government and against unchecked federal power that could infringe on individual rights. Hearst supported FDR in 1932, but then became critical of the New Deal. More and more often, Hearst newspapers supported business over organized labor and condemned higher income tax legislation.
Hearst broke with FDR in spring 1935 when the president vetoed the Patman Bonus Bill for veterans and tried to enter the World Court. Hearst's papers were his weapon. They carried the publisher's rambling, vitriolic, all-capital-letters editorials, but he no longer employed the energetic reporters, editors, and columnists who might have made a serious attack. He reached 20 million readers in the mid-1930s, but they included much of the working class which Roosevelt had attracted by three-to-one margins in the 1936 election. The Hearst papers—like most major chains—had supported the Republican Alf Landon that year.
While campaigning against Roosevelt's policy of developing formal diplomatic relations with the Soviet Union, in 1935 Hearst ordered his editors to reprint eyewitness accounts of the Ukrainian famine (the Holdomor). These had been supplied in 1933 by Welsh freelance journalist Gareth Jones, and by the disillusioned American Communist Fred Beal. The New York Times, content with what it has since conceded was "tendentious" reporting of Soviet achievements, printed the blanket denials of its Pulitzer Prize-winning Moscow correspondent Walter Duranty. Duranty, who was widely credited with facilitating the rapprochement with Moscow, dismissed the Hearst-circulated reports of made-made starvation as a politically-motivated "scare story".
In the articles, written by Thomas Walker, to better serve Hearst 's editorial line against Roosevelt's Soviet policy the famine was "updated"; placed in 1934 rather than 1932-1933. In The Nation, Louis Fischer accused Walker of pure invention. Fischer had been to the Ukraine in 1934 and had seen no famine. He interpreted the whole affair as merely an attempt by Hearst to "spoil Soviet-American relations" as part of "an anti-red campaign".
In 1934, after checking with Jewish leaders to ensure a visit would be to their benefit, Hearst visited Berlin to interview Adolf Hitler. When Hitler asked why he was so misunderstood by the American press, Hearst retorted: "Because Americans believe in democracy, and are averse to dictatorship." Hearst's papers ran columns without rebuttal by Nazi leader Hermann Göring and Hitler himself, as well as Mussolini and other dictators in Europe and Latin America. During that same year 1934, Japan / U.S. relations were unstable. In an attempt to remedy this, Prince Tokugawa Iesato traveled throughout the United States on a goodwill visit. During his visit, Prince Iesato and his delegation met with William Randolph Hearst with the hope of improving mutual understanding between the two nations.
Personal life
Millicent Willson
In 1903, Hearst married Millicent Veronica Willson (1882–1974), a 21-year-old chorus girl, in New York City. Evidence in Louis Pizzitola's book, Hearst Over Hollywood, indicates that Millicent's mother Hannah Willson ran a Tammany-connected and protected brothel near the headquarters of political power in New York City at the turn of the 20th century. Millicent bore him five sons: George Randolph Hearst, born on April 23, 1904; William Randolph Hearst Jr., born on January 27, 1908; John Randolph Hearst, born in 1910; and twins Randolph Apperson Hearst and David Whitmire (né Elbert Willson) Hearst, born on December 2, 1915.
Marion Davies
Conceding an end to his political hopes, Hearst became involved in an affair with the film actress and comedian Marion Davies (1897–1961), former mistress of his friend Paul Block. From about 1919, he lived openly with her in California. After the death of Patricia Lake (1919/1923–1993), who had been presented as Davies's "niece," her family confirmed that she was Davies's and Hearst's daughter. She had acknowledged this before her death.
Millicent separated from Hearst in the mid-1920s after tiring of his longtime affair with Davies, but the couple remained legally married until Hearst's death. Millicent built an independent life for herself in New York City as a leading philanthropist. She was active in society and in 1921 created the Free Milk Fund for the poor.
California properties
Beginning in 1919, Hearst began to build Hearst Castle, which he never completed, on a ranch at San Simeon, California, which he had inherited from his father. He furnished the mansion with art, antiques, and entire historic rooms purchased and brought from the great houses of Europe. He established an Arabian horse breeding operation on the grounds.
Hearst also had a property on the McCloud River in Siskiyou County, in far northern California, called Wyntoon. The buildings at Wyntoon were designed by architect Julia Morgan, who also designed Hearst Castle and worked in collaboration with William J. Dodd on a number of other projects.
In 1947, Hearst paid $120,000 for an H-shaped Beverly Hills mansion, (located at 1011 N. Beverly Dr.), on 3.7 acres three blocks from Sunset Boulevard. The Beverly House, as it has come to be known, has some cinematic connections. According to Hearst Over Hollywood, John and Jacqueline Kennedy stayed at the house for part of their honeymoon. The house appeared in the film The Godfather (1972).
In the early 1890s, Hearst began building a mansion on the hills overlooking Pleasanton, California, on land purchased by his father a decade earlier. Hearst's mother took over the project, hired Julia Morgan to finish it as her home, and named it Hacienda del Pozo de Verona. After her death, it was acquired by Castlewood Country Club, which used it as their clubhouse from 1925 to 1969, when it was destroyed in a major fire.
Art collection
Hearst was renowned for his extensive collection of international art that spanned centuries. Most notable in his collection were his Greek vases, Spanish and Italian furniture, Oriental carpets, Renaissance vestments, an extensive library with many books signed by their authors, and paintings and statues. In addition to collecting pieces of fine art, he also gathered manuscripts, rare books, and autographs. His guests included varied celebrities and politicians, who stayed in rooms furnished with pieces of antique furniture and decorated with artwork by famous artists.
Beginning in 1937, Hearst began selling some of his art collection to help relieve the debt burden he had suffered from the Depression. The first year he sold items for a total of $11 million. In 1941 he put about 20,000 items up for sale; these were evidence of his wide and varied tastes. Included in the sale items were paintings by van Dyke, crosiers, chalices, Charles Dickens's sideboard, pulpits, stained glass, arms and armor, George Washington's waistcoat, and Thomas Jefferson's Bible. When Hearst Castle was donated to the State of California, it was still sufficiently furnished for the whole house to be considered and operated as a museum.
St Donat's Castle
After seeing photographs, in Country Life Magazine, of St. Donat's Castle in Vale of Glamorgan, Wales, Hearst bought and renovated it in 1925 as a gift to Davies. The Castle was restored by Hearst, who spent a fortune buying entire rooms from other castles and palaces across the UK and Europe. The Great Hall was bought from the Bradenstoke Priory in Wiltshire and reconstructed brick by brick in its current site at St. Donat's. From the Bradenstoke Priory, he also bought and removed the guest house, Prior's lodging, and great tithe barn; of these, some of the materials became the St. Donat's banqueting hall, complete with a sixteenth-century French chimney-piece and windows; also used were a fireplace dated to c. 1514 and a fourteenth-century roof, which became part of the Bradenstoke Hall, despite this use being questioned in Parliament. Hearst built 34 green and white marble bathrooms for the many guest suites in the castle and completed a series of terraced gardens which survive intact today. Hearst and Davies spent much of their time entertaining, and held a number of lavish parties attended by guests including Charlie Chaplin, Douglas Fairbanks, Winston Churchill, and a young John F. Kennedy. When Hearst died, the castle was purchased by Antonin Besse II and donated to Atlantic College, an international boarding school founded by Kurt Hahn in 1962, which still uses it.
Interest in aviation
Hearst was particularly interested in the newly emerging technologies relating to aviation and had his first experience of flight in January 1910, in Los Angeles. Louis Paulhan, a French aviator, took him for an air trip on his Farman biplane. Hearst also sponsored Old Glory as well as the Hearst Transcontinental Prize.
Financial disaster
Hearst's crusade against Roosevelt and the New Deal, combined with union strikes and boycotts of his properties, undermined the financial strength of his empire. Circulation of his major publications declined in the mid-1930s, while rivals such as the New York Daily News were flourishing. He refused to take effective cost-cutting measures, and instead increased his very expensive art purchases. His friend Joseph P. Kennedy offered to buy the magazines, but Hearst jealously guarded his empire and refused. Instead, he sold some of his heavily mortgaged real estate. San Simeon itself was mortgaged to Los Angeles Times owner Harry Chandler in 1933 for $600,000.
Finally his financial advisors realized he was tens of millions of dollars in debt, and could not pay the interest on the loans, let alone reduce the principal. The proposed bond sale failed to attract investors, as Hearst's financial crisis became widely known. As Marion Davies's stardom waned, Hearst's movies also began to hemorrhage money. As the crisis deepened, he let go of most of his household staff, sold his exotic animals to the Los Angeles Zoo, and named a trustee to control his finances. He still refused to sell his beloved newspapers. At one point, to avoid outright bankruptcy, he had to accept a $1 million loan from Marion Davies, who sold all her jewelry, stocks and bonds to raise the cash for him. Davies also managed to raise him another million as a loan from Washington Herald owner Cissy Patterson. The trustee cut Hearst's annual salary to $500,000, and stopped the annual payment of $700,000 in dividends. He had to pay rent for living in his castle at San Simeon.
Legally Hearst avoided bankruptcy, although the public generally saw it as such as appraisers went through the tapestries, paintings, furniture, silver, pottery, buildings, autographs, jewelry, and other collectibles. Items in the thousands were gathered from a five-story warehouse in New York, warehouses near San Simeon containing large amounts of Greek sculpture and ceramics, and the contents of St. Donat's. His collections were sold off in a series of auctions and private sales in 1938–39. John D. Rockefeller, Junior, bought $100,000 of antique silver for his new museum at Colonial Williamsburg. The market for art and antiques had not recovered from the depression, so Hearst made an overall loss of hundreds of thousands of dollars. During this time, Hearst's friend George Loorz commented sarcastically: "He would like to start work on the outside pool [at San Simeon], start a new reservoir etc. but told me yesterday 'I want so many things but haven't got the money.' Poor fellow, let's take up a collection."
He was embarrassed in early 1939 when Time magazine published a feature which revealed he was at risk of defaulting on his mortgage for San Simeon and losing it to his creditor and publishing rival, Harry Chandler. This, however, was averted, as Chandler agreed to extend the repayment.
Final years and death
After the disastrous financial losses of the 1930s, the Hearst Company returned to profitability during the Second World War, when advertising revenues skyrocketed. Hearst, after spending much of the war at his estate of Wyntoon, returned to San Simeon full-time in 1945 and resumed building works. He also continued collecting, on a reduced scale. He threw himself into philanthropy by donating a great many works to the Los Angeles County Museum of Art.
In 1947, Hearst left his San Simeon estate to seek medical care, which was unavailable in the remote location. He died in Beverly Hills on August 14, 1951, at the age of 88. He was interred in the Hearst family mausoleum at the Cypress Lawn Cemetery in Colma, California, which his parents had established.
His will established two charitable trusts, the Hearst Foundation and the William Randolph Hearst Foundation. By his amended will, Marion Davies inherited 170,000 shares in the Hearst Corporation, which, combined with a trust fund of 30,000 shares that Hearst had established for her in 1950, gave her a controlling interest in the corporation. This was short-lived, as she relinquished the 170,000 shares to the Corporation on October 30, 1951, retaining her original 30,000 shares and a role as an advisor. Like their father, none of Hearst's five sons graduated from college. They all followed their father into the media business, and Hearst's namesake, William Randolph, Jr., became a Pulitzer Prize–winning newspaper reporter.
Criticism
In the 1890s, the already existing anti-Chinese and anti-Asian racism in San Francisco were further fanned by Hearst's anti-non-European descents, which were reflected in the rhetoric and the focus in The Examiner and one of his own signed editorials. These prejudices continued to be the mainstays throughout his journalistic career to galvanize his readers’ fears. Hearst staunchly supported the Japanese-American internment during WWII and used his media power to demonize Japanese-Americans and to drum up support for the internment of Japanese-Americans.
Some media outlets have attempted to bring attention to Hearst's involvement in the prohibition of cannabis in America. Hearst collaborated with Harry J. Anslinger to ban hemp due to the threat that the burgeoning hemp paper industry posed to his major investment and market share in the paper milling industry. This partnership to market propaganda against cannabis also created an immeasurable, long-lasting negative impact on global socioeconomics. Due to their efforts, hemp would remain illegal to grow in the US for almost a century, not being legalized until 2018.
As Martin Lee and Norman Solomon noted in their 1990 book Unreliable Sources, Hearst "routinely invented sensational stories, faked interviews, ran phony pictures and distorted real events". This approach discredited "yellow journalism".
Hearst's use of yellow journalism techniques in his New York Journal to whip up popular support for U.S. military adventurism in Cuba, Puerto Rico and the Philippines in 1898 was also criticized in Upton Sinclair's 1919 book, The Brass Check: A Study of American Journalism. According to Sinclair, Hearst's newspapers distorted world events and deliberately tried to discredit Socialists. Another critic, Ferdinand Lundberg, extended the criticism in Imperial Hearst (1936), charging that Hearst papers accepted payments from abroad to slant the news. After the war, a further critic, George Seldes, repeated the charges in Facts and Fascism (1947). Lundberg described Hearst "the weakest strong man and the strongest weak man in the world today... a giant with feet of clay."
In fiction
Citizen Kane
The film Citizen Kane (released on May 1, 1941) is loosely based on Hearst's life. Welles and his collaborator, screenwriter Herman J. Mankiewicz, created Kane as a composite character, among them Harold Fowler McCormick, Samuel Insull and Howard Hughes. Hearst, enraged at the idea of Citizen Kane being a thinly disguised and very unflattering portrait of him, used his massive influence and resources to prevent the film from being released—all without even having seen it. Welles and the studio RKO Pictures resisted the pressure but Hearst and his Hollywood friends ultimately succeeded in pressuring theater chains to limit showings of Citizen Kane, resulting in only moderate box-office numbers and seriously impairing Welles's career prospects. The fight over the film was documented in the Academy Award-nominated documentary, The Battle Over Citizen Kane, and nearly 60 years later, HBO offered a fictionalized version of Hearst's efforts in its original production RKO 281 (1999), in which James Cromwell portrays Hearst. Citizen Kane has twice been ranked No. 1 on AFI's 100 Years...100 Movies: in 1998 and 2007. In 2020, David Fincher directed Mank, starring Gary Oldman as Herman J. Mankiewicz, as he interacts with Hearst prior to the writing of Citizen Kane'''s screenplay. Charles Dance portrays Hearst in the film.
Other works
Films
In the television film Rough Riders (1997), Hearst (played by George Hamilton) is depicted as travelling to Cuba with a small band of journalists, to personally cover the Spanish–American War.
Hearst is mentioned in the Disney movie Newsies (1992), directed by Kenny Ortega, which depicts the Newsboys' Strike of 1899. Hearst is never seen onscreen but is referenced by several of the newsies in various musical numbers, and is portrayed as an antagonist engaged in a bitter circulation war with Joseph Pulitzer.
In the HBO movie Winchell (1998), Kevin Tighe played Hearst.
In RKO 281 He was played by James Cromwell.
The Cat's Meow (2001), a fictitious version of the death of Thomas H. Ince, takes place in November 1924, on a weekend cruise aboard publisher William Randolph Hearst's yacht, celebrating Ince's 44th birthday. The film's fictionalizes Ince's death by suggesting that Hearst shot Ince and covered it up. Hearst is portrayed by Edward Herrmann. (Ince actually became severely ill aboard Hearst's private yacht, and the official cause of the filmmaker's death was heart failure.)
He is portrayed by Matthew Marsh in Agnieszka Holland's 2019 film, Mr Jones.
He is portrayed by Charles Dance in David Fincher's 2020 film, Mank.
Literature
John Dos Passos's novel The Big Money (1936) includes a biographical sketch of Hearst.
Jack London's futuristic, dystopian novel of 1907, The Iron Heel, refers to Hearst by name; and the plot "predicts" the destruction of his publishing empire (along with the Democratic Party) in 1912, by means of an oligarchy of plutocrats and industrial trusts engineering the cessation of his advertising revenue.
In Ayn Rand's novel The Fountainhead (1943) and its eponymous 1949 film adaptation), the character Gail Wynand, a newspaper magnate who thinks he can control public sentiment but in reality is only a servant of the masses, is inspired by and modeled after the life of William Randolph Hearst.
In John Steinbeck's novel The Grapes of Wrath (1939), Hearst is anonymously described as the "newspaper fella near the coast" who "got a million acres" and looks "crazy an' mean" in pictures (ch. 18).
In Gore Vidal's historic novel series, Narratives of Empire, Hearst is a major character.
Scott Westerfeld's novel Goliath (2011) depicts Hearst in World War I.
In Charlaine Harris' The Russian Cage (2021) Hearst was the ruler of the HRE (formerly west coast states of US) who permitted the tsar and his entourage to settle in the defunct Navy base at San Diego.
Television
The rivalry between Hearst and Joseph Pulitzer has been documented on National Geographic Channel's series American Genius (2015).
In the TNT series "The Alienist", in the second season played by Matt Letscher.
In "The Paper Dynasty" (1964) episode of the syndicated Western television series, Death Valley Days, hosted by Stanley Andrews. In the story line, Hearst (played by James Hampton) struggles to turn a profit despite increased circulation of The San Francisco Examiner, featuring James Lanphier (1920–1969) as Ambrose Bierce and Robert O. Cornthwaite as Sam Chamberlain.
In "The Odyssey", a 1979 episode of the television series Little House on the Prairie, Hearst (played by Bill Ewing) is depicted as a friendly and talented young San Francisco journalist.
Hearst (portrayed by John Colton) appears in the season 2 episode "Hollywoodland" of the NBC series Timeless.
See also
Hearst Ranch
History of American newspapers
The Hacienda (Milpitas Ranchhouse)
References
Notes
Citations
Sources
Further reading
Bernhardt, Mark. "The Selling of Sex, Sleaze, Scuttlebutt, and other Shocking Sensations: The Evolution of New Journalism in San Francisco, 1887–1900." American Journalism 28#4 (2011): 111–42.
Carlisle, Rodney. "The Foreign Policy Views of an Isolationist Press Lord: W. R. Hearst & the International Crisis, 1936–41" Journal of Contemporary History (1974) 9#3 pp. 217–27.
Goldstein, Benjamin S. “‘A Legend Somewhat Larger than Life’: Karl H. von Wiegand and the Trajectory of Hearstian Sensationalist Journalism*.” Historical Research 94, no. 265 (August 1, 2021): 629–59. https://doi.org/10.1093/hisres/htab019.
Kastner, Victoria, with a foreword by Stephen T. Hearst (2013). Hearst Ranch: Family, Land and Legacy. New York: H. N. Abrams. .
Kastner, Victoria, with photographs by Victoria Garagliano (2000). Hearst Castle: The Biography of a Country House. New York: H. N. Abrams. .
Kastner, Victoria, with photographs by Victoria Garagliano (2009). Hearst's San Simeon: The Gardens and the Land. New York: H. N. Abrams. .
Landers, James. "Hearst's Magazine, 1912–1914: Muckraking Sensationalist." Journalism History 38.4 (2013): 221.
Leonard, Thomas C. "Hearst, William Randolph"; American National Biography Online (2000). Access Date: May 12, 2016
Thomas, Evan. The war lovers: Roosevelt, Lodge, Hearst, and the rush to empire, 1898 (2010).
Winkler, John K. W.R. Hearst An American Phenomenon'', Jonathan Cape, (1928)
External links
Hearst the Collector at LACMA
Zpub.com: William Randolph Hearst biography
The William Randolph Hearst Art Archive at Long Island University
Guide to the William Randolph Hearst Papers at The Bancroft Library
Hearstcastle.org: Hearst Castle at San Simeon
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1863 births
1951 deaths
19th-century American newspaper publishers (people)
19th-century art collectors
20th-century American newspaper founders
20th-century American newspaper publishers (people)
20th-century American politicians
20th-century art collectors
American animated film producers
American art collectors
American magazine founders
American magazine publishers (people)
American newspaper chain founders
American newspaper chain owners
American political party founders
American socialites
Burials at Cypress Lawn Memorial Park
Businesspeople from Los Angeles
Businesspeople from New Rochelle, New York
Businesspeople from San Francisco
California Democrats
Candidates in the 1904 United States presidential election
Democratic Party members of the United States House of Representatives
Harvard College alumni
The Harvard Lampoon alumni
Hasty Pudding alumni
William Randolph
Land owners from California
Members of the United States House of Representatives from New York (state)
New York (state) Democrats
News agency founders
Old Right (United States)
People from Beverly Hills, California
People from San Luis Obispo County, California
People of the Spanish–American War
Philanthropists from New York (state)
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Progressive Era in the United States
Publishers from California
St. Paul's School (New Hampshire) alumni
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Anti-Chinese sentiment
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| true |
[
"North Dakota will hold two statewide elections in 2022: a primary election on Tuesday, June 14, and a general election on Tuesday, November 8. In addition, each township will elect officers on Tuesday, March 15, and each school district will hold their elections on a date of their choosing between April 1 and June 30.\n\nPrimary Election \nOn Tuesday, June 14, North Dakota voters will select which candidates for statewide and legislative office will appear on the November ballot. Because North Dakota does not have party registration, any eligible voter may vote in any one party's primary election. In addition, any number of constitutional amendments, initiated measures, or referred measures may be placed on the ballot by petition or legislative action.\n\nGeneral Election \nOn Tuesday, November 8, concurrent with other statewide elections across the United States, North Dakota voters will select one United States Senator, one United States Representative, Secretary of State, Attorney General, and several other statewide executive and judicial branch offices. Voters in odd-numbered legislative districts will also select their representatives to the North Dakota House of Representatives and North Dakota Senate.\n\nFederal offices\n\nUnited States Senator \n\nIncumbent Republican senator John Hoeven is running for re-election to a third term. He was re-elected in 2016 with 78.5% of the vote.\n\nUnited States Representative \n\nIncumbent Republican representative Kelly Armstrong was re-elected in 2020 with 69.0% of the vote. He has not yet announced his intention to run for a third term.\n\nState offices\n\nSecretary of State \nIncumbent Republican Secretary of State Alvin Jaeger was re-elected as an independent in 2018 with 47.3% of the vote. He has not yet announced his intention to run for a ninth term.\n\nAttorney General \n\nIncumbent Republican Attorney General Wayne Stenehjem, first elected 2000, was re-elected in 2018 with 67.6% of the vote. Stenehjem had previously said he was not going to run for a seventh term, but died on January 28 prior to the end of his term.\n\nAgriculture Commissioner \nIncumbent Republican Agriculture Commissioner Doug Goehring was re-elected in 2018 with 67.8% of the vote. He has not yet announced his intention to run for a fourth term.\n\nTax Commissioner \nIncumbent Republican Tax Commissioner Ryan Rauschenberger was re-elected in 2018 with 58.6% of the vote. He has not yet announced his intention to run for a third term.\n\nPublic Service Commissioner \nOne of three seats in the state Public Service Commission are up for election. Incumbent Republican Julie Fedorchak was re-elected in 2016 with 68.8% of the vote. She has not yet announced her intention to run for a third term.\n\nState Legislature \n24 seats in the North Dakota Senate and 47 seats in the North Dakota House of Representatives are up for election. Voters in all odd-numbered districts will see those races on their ballots. This will be the first election affected by the 2020 redistricting cycle.\n\nReferences \n\n \nNorth Dakota",
"Michael Affarano (born June 9, 1962) is an American professional stock car racing driver and race team owner. As a driver, he last competed part-time in the NASCAR Gander RV & Outdoors Truck Series for his own team, Mike Affarano Motorsports. He has also competed and fielded a team in the ARCA Racing Series.\n\nRacing career\n\nARCA Menards Series and 2012 Talladega crash\nAffarano made his first attempt in ARCA in 2012 at the season opener at Daytona driving the No. 59 for Mark Gibson, but he did not qualify for the race. He began fielding his own team in the series starting at Talladega. In his first race as an owner-driver, he became known for a crash in that race where his No. 83 flipped on lap 76 of the race. Since the car landed on its roof, a safety truck had to flip it back on its wheels, where Affarano proceeded to climb out of his car with the help of safety personnel at the scene.\n\nAffarano drove in four more races that year, with two being for his own team and the other two driving the No. 18 for Fast Track Racing.\n\nAffarano nor his team did not end up making up any starts in 2013, however, plans were announced for him to drive the No. 40 Dodge for Carter 2 Motorsports at Chicago, but Dominick Casola ended up driving the car instead. Casola originally had been announced to be in the other C2M car, the No. 97, which was driven by Nick Tucker instead.\n\nHe returned with his own team, now using the No. 03, for two attempts in 2014. The first was a withdrawal at his home track of Chicago, and the second being at Pocono where he surprisingly finished 14th in a field of 31 cars.\n\nIn 2015, Affarano did not drive in any races himself, but he did have Raymond Hassler in the No. 03 at Daytona and Kevin Rutherford in the car for three races at Nashville, Toledo, and Winchester.\n\nNASCAR Gander RV & Outdoors Truck Series\nAffarano's first truck start came at the 2014 Eldora race. He fielded his own truck, the No. 03 Chevrolet, and qualified into the event through his heat race. However, in the race, Affarano finished last. He made three more starts that year at Chicago, Bristol (which was a DNQ), and Talladega.\n\nHe returned in 2015, again for a part-time schedule. Affarano himself drove at Kansas, Texas, Gateway, and Iowa. He also withdrew from two other races that year at Dover and Kentucky. He did enter his truck at Eldora for the second year in a row, but this time, it was with Jake Griffin driving. It was the first time he had someone other than himself driving his truck. After that Tim Viens attempted Pocono and Michigan for the team but failed to qualify in both. After that Viens and Affarano Motorsports were supposedly to attempt Chicago's race but withdrew.\n\nAffarano and his No. 03 team did not attempt any races in 2016, but they did attempt to come back in 2017 at Talladega. They were initially on the entry list, but the team withdrew after they could not get the truck ready and updated in time, according to a post on the team's Facebook page.\n\nHe also withdrew from the race at Chicago in 2018. John Provenzano attempted Eldora's race for the team but failed to qualify.\n\nIn 2019, Jake Griffin returned to the team for Eldora's race and finished 26th.\n\nNASCAR Xfinity Series \nIn 2015, Affarano expanded his race team into the NASCAR Xfinity Series, attempting one race with Johanna Long in his No. 03 car, but failed to qualify. After that, Long parted ways with the team. Affarano did not run any Xfinity races as a driver, though. \n\nThe team was planning to debut at the season-opener at Daytona in February 2015, but they had to postpone their debut due to lack of sponsorship. Affarano started his Xfinity team by purchasing cars and equipment from the closed Turner Scott Motorsports team.\n\nPersonal life\nAffarano lives in Shorewood, Illinois where he owns an auto parts shop. He is happily married for many years. He lost his 16-year old son, named after him, in May 2005. He also has two other children, twin boys, (born 2007), who are also into racing.\n\nMotorsports career results\n\nNASCAR\n\nCamping World Truck Series\n\n Season still in progress\n Ineligible for series points\n\nARCA Racing Series\n\nReferences\n\nExternal links\n \n \n\n1962 births\nLiving people\nPeople from Shorewood, Illinois\nRacing drivers from Illinois\nNASCAR drivers\nARCA Menards Series drivers"
] |
[
"William Randolph Hearst",
"Involvement in politics",
"When did he get involved in politics?",
"He narrowly failed in attempts to become mayor of New York City in both 1905 and 1909 and governor of New York in 1906,",
"Did he attempt to run for any other offices?",
"He was defeated for the governorship by Charles Evans Hughes."
] |
C_157aad7f67974c55b20a22f3e235e87c_0
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Did he do anything else in politics aside from running for office?
| 3 |
Did William Randolph Hearst do anything else in politics aside from running for different offices?
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William Randolph Hearst
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Hearst won two elections to Congress, then lost a series of elections. He narrowly failed in attempts to become mayor of New York City in both 1905 and 1909 and governor of New York in 1906, nominally remaining a Democrat while also creating the Independence Party. He was defeated for the governorship by Charles Evans Hughes. Hearst's unsuccessful campaigns for office after his tenure in the House of Representatives earned him the unflattering but short-lived nickname of "William 'Also-Randolph' Hearst", which was coined by Wallace Irwin. Hearst was on the left wing of the Progressive Movement, speaking on behalf of the working class (who bought his papers) and denouncing the rich and powerful (who disdained his editorials). With the support of Tammany Hall (the regular Democratic organization in Manhattan), he was elected to Congress in 1902 and 1904. He ran for the Democratic nomination for president in 1904, losing to a conservative New York judge, Alton B. Parker. Breaking with Tammany in 1907, Hearst ran for mayor of New York City under a third party of his own creation, the Municipal Ownership League). Tammany Hall exerted its utmost to defeat him. An opponent of the British Empire, Hearst opposed American involvement in the First World War and attacked the formation of the League of Nations. His newspapers abstained from endorsing any candidate in 1920 and 1924. Hearst's last bid for office came in 1922 when he was backed by Tammany Hall leaders for the U.S. Senate nomination in New York. Al Smith vetoed this, earning the lasting enmity of Hearst. Although Hearst shared Smith's opposition to Prohibition, he swung his papers behind Herbert Hoover in the 1928 presidential election. Hearst's support for Franklin D. Roosevelt at the 1932 Democratic National Convention, via his allies William Gibbs McAdoo and John Nance Garner, can also be seen as part of his vendetta against Smith, who was an opponent of Roosevelt's at that convention. CANNOTANSWER
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Hearst was on the left wing of the Progressive Movement, speaking on behalf of the working class (who bought his papers)
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William Randolph Hearst Sr. (; April 29, 1863 – August 14, 1951) was an American businessman, newspaper publisher, and politician known for developing the nation's largest newspaper chain and media company, Hearst Communications. His flamboyant methods of yellow journalism influenced the nation's popular media by emphasizing sensationalism and human interest stories. Hearst entered the publishing business in 1887 with Mitchell Trubitt after being given control of The San Francisco Examiner by his wealthy father, Senator George Hearst.
After moving to New York City, Hearst acquired the New York Journal and fought a bitter circulation war with Joseph Pulitzer's New York World. Hearst sold papers by printing giant headlines over lurid stories featuring crime, corruption, sex, and innuendo. Hearst acquired more newspapers and created a chain that numbered nearly 30 papers in major American cities at its peak. He later expanded to magazines, creating the largest newspaper and magazine business in the world. Hearst controlled the editorial positions and coverage of political news in all his papers and magazines, and thereby often published his personal views. He sensationalized Spanish atrocities in Cuba while calling for war in 1898 against Spain. Historians, however, reject his subsequent claims to have started the war with Spain as overly extravagant.
He was twice elected as a Democrat to the U.S. House of Representatives. He ran unsuccessfully for President of the United States in 1904, Mayor of New York City in 1905 and 1909, and for Governor of New York in 1906. During his political career, he espoused views generally associated with the left wing of the Progressive Movement, claiming to speak on behalf of the working class.
After 1918 and the end of World War I, Hearst gradually began adopting more conservative views and started promoting an isolationist foreign policy to avoid any more entanglement in what he regarded as corrupt European affairs. He was at once a militant nationalist, a fierce anti-communist after the Russian Revolution, and deeply suspicious of the League of Nations and of the British, French, Japanese, and Russians. He was a leading supporter of Franklin D. Roosevelt in 1932–1934, but then broke with FDR and became his most prominent enemy on the right. Hearst's empire reached a peak circulation of 20 million readers a day in the mid-1930s. He was a bad manager of finances and so deeply in debt during the Great Depression that most of his assets had to be liquidated in the late 1930s. Hearst managed to keep his newspapers and magazines.
His life story was the main inspiration for Charles Foster Kane, the lead character in Orson Welles's film Citizen Kane (1941). His Hearst Castle, constructed on a hill overlooking the Pacific Ocean near San Simeon, has been preserved as a State Historical Monument and is designated as a National Historic Landmark.
Ancestry and early life
William R. Hearst was born in San Francisco to George Hearst, a millionaire mining engineer, owner of gold and other mines through his corporation, and his much younger wife Phoebe Apperson Hearst, from a small town in Missouri. The elder Hearst later entered politics, and served as a US Senator, first appointed for a brief period in 1886, then elected later that year. He served from 1887 to his death in 1891.
His paternal great-grandfather was John Hearst of Ulster Protestant origin. John Hearst, with his wife and six children, migrated to America from Ballybay, County Monaghan, Ireland, as part of the Cahans Exodus in 1766, and settled in South Carolina. Their immigration to South Carolina was spurred in part by the colonial government's policy that encouraged the immigration of Irish Protestants, many of Scots origin. The names "John Hearse" and "John Hearse Jr." appear on the council records of October 26, 1766, being credited with meriting of land on the Long Canes (in what became Abbeville District), based upon to heads of household and for each dependent of a Protestant immigrant. The "Hearse" spelling of the family name never was used afterward by the family members themselves, or any family of any size. A separate theory purports that one branch of a "Hurst" family of Virginia (originally from Plymouth Colony) moved to South Carolina at about the same time and changed the spelling of its surname of over a century to that of the immigrant Hearsts. Hearst's mother, née Phoebe Elizabeth Apperson, was also of Scots-Irish ancestry; her family came from Galway. She was appointed as the first woman regent of University of California, Berkeley, donated funds to establish libraries at several universities, funded many anthropological expeditions, and founded the Phoebe A. Hearst Museum of Anthropology.
Hearst attended prep school at St. Paul's School in Concord, New Hampshire. He enrolled in the Harvard College class of 1885. While there he was a member of Delta Kappa Epsilon, the A.D. Club (a Harvard Final club), the Hasty Pudding Theatricals, and of the Lampoon before being expelled. His antics had ranged from sponsoring massive beer parties in Harvard Square to sending pudding pots used as chamber pots to his professors (their images were depicted within the bowls).
Publishing business
Searching for an occupation, in 1887 Hearst took over management of his father's newspaper, the San Francisco Examiner, which his father had acquired in 1880 as repayment for a gambling debt. Giving his paper the grand motto "Monarch of the Dailies", Hearst acquired the best equipment and the most talented writers of the time, including Ambrose Bierce, Mark Twain, Jack London, and political cartoonist Homer Davenport. A self-proclaimed populist, Hearst reported accounts of municipal and financial corruption, often attacking companies in which his own family held an interest. Within a few years, his paper dominated the San Francisco market.
New York Morning Journal
Early in his career at the San Francisco Examiner, Hearst envisioned running a large newspaper chain, and "always knew that his dream of a nation-spanning, multi-paper news operation was impossible without a triumph in New York". In 1895, with the financial support of his widowed mother (his father had died in 1891), Hearst bought the failing New York Morning Journal, hiring writers such as Stephen Crane and Julian Hawthorne, and entering into a head-to-head circulation war with Joseph Pulitzer, owner and publisher of the New York World. Hearst "stole" Richard F. Outcault, the creator of color comics, and all of Pulitzer's Sunday staff as well. Another prominent hire was James J. Montague, who came from the Portland Oregonian and started his well-known "More Truth Than Poetry" column at the Hearst-owned New York Evening Journal.
When Hearst purchased the "penny paper", so called because its copies sold for a penny apiece, the Journal was competing with New York's 16 other major dailies. It had a strong focus on Democratic Party politics. Hearst imported his best managers from the San Francisco Examiner and "quickly established himself as the most attractive employer" among New York newspapers. He was generous, paid more than his competitors, gave credit to his writers with page-one bylines, and was unfailingly polite, unassuming, "impeccably calm", and indulgent of "prima donnas, eccentrics, bohemians, drunks, or reprobates so long as they had useful talents".
Hearst's activist approach to journalism can be summarized by the motto, "While others Talk, the Journal Acts."
Yellow journalism and rivalry with the New York World
The New York Journal and its chief rival, the New York World, mastered a style of popular journalism that came to be derided as "yellow journalism", after Outcault's Yellow Kid comic. Pulitzer's World had pushed the boundaries of mass appeal for newspapers through bold headlines, aggressive news gathering, generous use of cartoons and illustrations, populist politics, progressive crusades, an exuberant public spirit, and dramatic crime and human-interest stories. Hearst's Journal used the same recipe for success, forcing Pulitzer to drop the price of the World from two cents to a penny. Soon the two papers were locked in a fierce, often spiteful competition for readers in which both papers spent large sums of money and saw huge gains in circulation.
Within a few months of purchasing the Journal, Hearst hired away Pulitzer's three top editors: Sunday editor Morrill Goddard, who greatly expanded the scope and appeal of the American Sunday newspaper; Solomon Carvalho, and a young Arthur Brisbane, who became managing editor of the Hearst newspaper empire, and a legendary columnist. Contrary to popular assumption, they were not lured away by higher pay—rather, each man had grown tired of the temperamental, domineering Pulitzer and the paranoid, back-biting office politics which he encouraged.
While Hearst's many critics attribute the Journals incredible success to cheap sensationalism, Kenneth Whyte noted in The Uncrowned King: The Sensational Rise Of William Randolph Hearst: "Rather than racing to the bottom, he [Hearst] drove the Journal and the penny press upmarket. The Journal was a demanding, sophisticated paper by contemporary standards." Though yellow journalism would be much maligned, Whyte said, "All good yellow journalists ... sought the human in every story and edited without fear of emotion or drama. They wore their feelings on their pages, believing it was an honest and wholesome way to communicate with readers", but, as Whyte pointed out: "This appeal to feelings is not an end in itself... [they believed] our emotions tend to ignite our intellects: a story catering to a reader's feelings is more likely than a dry treatise to stimulate thought."
The two papers finally declared a truce in late 1898, after both lost vast amounts of money covering the Spanish–American War. Hearst probably lost several million dollars in his first three years as publisher of the Journal (figures are impossible to verify) but the paper began turning a profit after it ended its fight with the World.
Under Hearst, the Journal remained loyal to the populist or left wing of the Democratic Party. It was the only major publication in the East to support William Jennings Bryan in 1896. Its coverage of that election was probably the most important of any newspaper in the country, attacking relentlessly the unprecedented role of money in the Republican campaign and the dominating role played by William McKinley's political and financial manager, Mark Hanna, the first national party 'boss' in American history. A year after taking over the paper, Hearst could boast that sales of the Journal's post-election issue (including the evening and German-language editions) topped 1.5 million, a record "unparalleled in the history of the world."
The Journal's political coverage, however, was not entirely one-sided. Kenneth Whyte says that most editors of the time "believed their papers should speak with one voice on political matters"; by contrast, in New York, Hearst "helped to usher in the multi-perspective approach we identify with the modern op-ed page". At first he supported the Russian Revolution of 1917 but later he turned against it. Hearst fought hard against Wilsonian internationalism, the League of Nations, and the World Court, thereby appealing to an isolationist audience.
Spanish–American War
The Morning Journal's daily circulation routinely climbed above the 1 million mark after the sinking of the and U.S. entry into the Spanish–American War, a war that some called The Journals War, due to the paper's immense influence in provoking American outrage against Spain. Much of the coverage leading up to the war, beginning with the outbreak of the Cuban Revolution in 1895, was tainted by rumor, propaganda, and sensationalism, with the "yellow" papers regarded as the worst offenders. The Journal and other New York newspapers were so one-sided and full of errors in their reporting that coverage of the Cuban crisis and the ensuing Spanish–American War is often cited as one of the most significant milestones in the rise of yellow journalism's hold over the mainstream media. Huge headlines in the Journal assigned blame for the Maine's destruction on sabotage, which was based on no evidence. This reporting stoked outrage and indignation against Spain among the paper's readers in New York.
The Journal's crusade against Spanish rule in Cuba was not due to mere jingoism, although "the democratic ideals and humanitarianism that inspired their coverage are largely lost to history," as are their "heroic efforts to find the truth on the island under unusually difficult circumstances." The Journal's journalistic activism in support of the Cuban rebels, rather, was centered around Hearst's political and business ambitions.
Perhaps the best known myth in American journalism is the claim, without any contemporary evidence, that the illustrator Frederic Remington, sent by Hearst to Cuba to cover the Cuban War of Independence, cabled Hearst to tell him all was quiet in Cuba. Hearst, in this canard, is said to have responded, "Please remain. You furnish the pictures and I'll furnish the war."
Hearst was personally dedicated to the cause of the Cuban rebels, and the Journal did some of the most important and courageous reporting on the conflict—as well as some of the most sensationalized. Their stories on the Cuban rebellion and Spain's atrocities on the island—many of which turned out to be untrue—were motivated primarily by Hearst's outrage at Spain's brutal policies on the island. These had resulted in the deaths of hundreds of thousands of innocent Cubans. The most well-known story involved the imprisonment and escape of Cuban prisoner Evangelina Cisneros.
While Hearst and the yellow press did not directly cause America's war with Spain, they inflamed public opinion in New York City to a fever pitch. New York's elites read other papers, such as the Times and Sun, which were far more restrained. The Journal and the World were local papers oriented to a very large working class audience in New York City. They were not among the top ten sources of news in papers in other cities, and their stories did not make a splash outside New York City. Outrage across the country came from evidence of what Spain was doing in Cuba, a major influence in the decision by Congress to declare war.
According to a 21st-century historian, war was declared by Congress because public opinion was sickened by the bloodshed, and because leaders like McKinley realized that Spain had lost control of Cuba. These factors weighed more on the president's mind than the melodramas in the New York Journal.
Hearst sailed to Cuba with a small army of Journal reporters to cover the Spanish–American War; they brought along portable printing equipment, which was used to print a single-edition newspaper in Cuba after the fighting had ended. Two of the Journal's correspondents, James Creelman and Edward Marshall, were wounded in the fighting. A leader of the Cuban rebels, Gen. Calixto García, gave Hearst a Cuban flag that had been riddled with bullets as a gift, in appreciation of Hearst's major role in Cuba's liberation.
Expansion
In part to aid in his political ambitions, Hearst opened newspapers in other cities, among them Chicago, Los Angeles and Boston. In 1915, he founded International Film Service, an animation studio designed to exploit the popularity of the comic strips he controlled. The creation of his Chicago paper was requested by the Democratic National Committee. Hearst used this as an excuse for his mother Phoebe Hearst to transfer him the necessary start-up funds. By the mid-1920s he had a nationwide string of 28 newspapers, among them the Los Angeles Examiner, the Boston American, the Atlanta Georgian, the Chicago Examiner, the Detroit Times, the Seattle Post-Intelligencer, the Washington Times, the Washington Herald, and his flagship, the San Francisco Examiner.
Hearst also diversified his publishing interests into book publishing and magazines. Several of the latter are still in circulation, including such periodicals as Cosmopolitan, Good Housekeeping, Town and Country, and Harper's Bazaar.
In 1924, Hearst opened the New York Daily Mirror, a racy tabloid frankly imitating the New York Daily News. Among his other holdings were two news services, Universal News and International News Service, or INS, the latter of which he founded in 1909. He also owned INS companion radio station WINS in New York; King Features Syndicate, which still owns the copyrights of a number of popular comics characters; a film company, Cosmopolitan Productions; extensive New York City real estate; and thousands of acres of land in California and Mexico, along with timber and mining interests inherited from his father.
Hearst promoted writers and cartoonists despite the lack of any apparent demand for them by his readers. The press critic A. J. Liebling reminds us how many of Hearst's stars would not have been deemed employable elsewhere. One Hearst favorite, George Herriman, was the inventor of the dizzy comic strip Krazy Kat. Not especially popular with either readers or editors when it was first published, in the 21st century, it is considered a classic, a belief once held only by Hearst himself.
In 1929, he became one of the sponsors of the first round-the-world voyage in an airship, the LZ 127 Graf Zeppelin from Germany. His sponsorship was conditional on the trip starting at Lakehurst Naval Air Station, New Jersey. The ship's captain, Dr. Hugo Eckener, first flew the Graf Zeppelin across the Atlantic from Germany to pick up Hearst's photographer and at least three Hearst correspondents. One of them, Grace Marguerite Hay Drummond-Hay, by that flight became the first woman to travel around the world by air.
The Hearst news empire reached a revenue peak about 1928, but the economic collapse of the Great Depression in the United States and the vast over-extension of his empire cost him control of his holdings. It is unlikely that the newspapers ever paid their own way; mining, ranching and forestry provided whatever dividends the Hearst Corporation paid out. When the collapse came, all Hearst properties were hit hard, but none more so than the papers. Hearst's conservative politics, increasingly at odds with those of his readers, worsened matters for the once great Hearst media chain. Having been refused the right to sell another round of bonds to unsuspecting investors, the shaky empire tottered. Unable to service its existing debts, Hearst Corporation faced a court-mandated reorganization in 1937.
From that point, Hearst was reduced to being an employee, subject to the directives of an outside manager. Newspapers and other properties were liquidated, the film company shut down; there was even a well-publicized sale of art and antiquities. While World War II restored circulation and advertising revenues, his great days were over. The Hearst Corporation continues to this day as a large, privately held media conglomerate based in New York City.
Involvement in politics
Hearst won two elections to Congress, then lost a series of elections. He narrowly failed in attempts to become mayor of New York City in both 1905 and 1909 and governor of New York in 1906, nominally remaining a Democrat while also creating the Independence Party. He was defeated for the governorship by Charles Evans Hughes. Hearst's unsuccessful campaigns for office after his tenure in the House of Representatives earned him the unflattering but short-lived nickname of "William 'Also-Randolph' Hearst", which was coined by Wallace Irwin.
Hearst was on the left wing of the Progressive Movement, speaking on behalf of the working class (who bought his papers) and denouncing the rich and powerful (who disdained his editorials). With the support of Tammany Hall (the regular Democratic organization in Manhattan), Hearst was elected to Congress from New York in 1902 and 1904. He made a major effort to win the 1904 Democratic nomination for president, losing to conservative Alton B. Parker. Breaking with Tammany in 1907, Hearst ran for mayor of New York City under a third party of his own creation, the Municipal Ownership League. Tammany Hall exerted its utmost to defeat him.
An opponent of the British Empire, Hearst opposed American involvement in the First World War and attacked the formation of the League of Nations. His newspapers abstained from endorsing any candidate in 1920 and 1924. Hearst's last bid for office came in 1922, when he was backed by Tammany Hall leaders for the U.S. Senate nomination in New York. Al Smith vetoed this, earning the lasting enmity of Hearst. Although Hearst shared Smith's opposition to Prohibition, he swung his papers behind Herbert Hoover in the 1928 presidential election. Hearst's support for Franklin D. Roosevelt at the 1932 Democratic National Convention, via his allies William Gibbs McAdoo and John Nance Garner, can also be seen as part of his vendetta against Smith, who was an opponent of Roosevelt's at that convention.
Move to the right
During the 1920s Hearst was a Jeffersonian Democrat. He warned citizens against the dangers of big government and against unchecked federal power that could infringe on individual rights. Hearst supported FDR in 1932, but then became critical of the New Deal. More and more often, Hearst newspapers supported business over organized labor and condemned higher income tax legislation.
Hearst broke with FDR in spring 1935 when the president vetoed the Patman Bonus Bill for veterans and tried to enter the World Court. Hearst's papers were his weapon. They carried the publisher's rambling, vitriolic, all-capital-letters editorials, but he no longer employed the energetic reporters, editors, and columnists who might have made a serious attack. He reached 20 million readers in the mid-1930s, but they included much of the working class which Roosevelt had attracted by three-to-one margins in the 1936 election. The Hearst papers—like most major chains—had supported the Republican Alf Landon that year.
While campaigning against Roosevelt's policy of developing formal diplomatic relations with the Soviet Union, in 1935 Hearst ordered his editors to reprint eyewitness accounts of the Ukrainian famine (the Holdomor). These had been supplied in 1933 by Welsh freelance journalist Gareth Jones, and by the disillusioned American Communist Fred Beal. The New York Times, content with what it has since conceded was "tendentious" reporting of Soviet achievements, printed the blanket denials of its Pulitzer Prize-winning Moscow correspondent Walter Duranty. Duranty, who was widely credited with facilitating the rapprochement with Moscow, dismissed the Hearst-circulated reports of made-made starvation as a politically-motivated "scare story".
In the articles, written by Thomas Walker, to better serve Hearst 's editorial line against Roosevelt's Soviet policy the famine was "updated"; placed in 1934 rather than 1932-1933. In The Nation, Louis Fischer accused Walker of pure invention. Fischer had been to the Ukraine in 1934 and had seen no famine. He interpreted the whole affair as merely an attempt by Hearst to "spoil Soviet-American relations" as part of "an anti-red campaign".
In 1934, after checking with Jewish leaders to ensure a visit would be to their benefit, Hearst visited Berlin to interview Adolf Hitler. When Hitler asked why he was so misunderstood by the American press, Hearst retorted: "Because Americans believe in democracy, and are averse to dictatorship." Hearst's papers ran columns without rebuttal by Nazi leader Hermann Göring and Hitler himself, as well as Mussolini and other dictators in Europe and Latin America. During that same year 1934, Japan / U.S. relations were unstable. In an attempt to remedy this, Prince Tokugawa Iesato traveled throughout the United States on a goodwill visit. During his visit, Prince Iesato and his delegation met with William Randolph Hearst with the hope of improving mutual understanding between the two nations.
Personal life
Millicent Willson
In 1903, Hearst married Millicent Veronica Willson (1882–1974), a 21-year-old chorus girl, in New York City. Evidence in Louis Pizzitola's book, Hearst Over Hollywood, indicates that Millicent's mother Hannah Willson ran a Tammany-connected and protected brothel near the headquarters of political power in New York City at the turn of the 20th century. Millicent bore him five sons: George Randolph Hearst, born on April 23, 1904; William Randolph Hearst Jr., born on January 27, 1908; John Randolph Hearst, born in 1910; and twins Randolph Apperson Hearst and David Whitmire (né Elbert Willson) Hearst, born on December 2, 1915.
Marion Davies
Conceding an end to his political hopes, Hearst became involved in an affair with the film actress and comedian Marion Davies (1897–1961), former mistress of his friend Paul Block. From about 1919, he lived openly with her in California. After the death of Patricia Lake (1919/1923–1993), who had been presented as Davies's "niece," her family confirmed that she was Davies's and Hearst's daughter. She had acknowledged this before her death.
Millicent separated from Hearst in the mid-1920s after tiring of his longtime affair with Davies, but the couple remained legally married until Hearst's death. Millicent built an independent life for herself in New York City as a leading philanthropist. She was active in society and in 1921 created the Free Milk Fund for the poor.
California properties
Beginning in 1919, Hearst began to build Hearst Castle, which he never completed, on a ranch at San Simeon, California, which he had inherited from his father. He furnished the mansion with art, antiques, and entire historic rooms purchased and brought from the great houses of Europe. He established an Arabian horse breeding operation on the grounds.
Hearst also had a property on the McCloud River in Siskiyou County, in far northern California, called Wyntoon. The buildings at Wyntoon were designed by architect Julia Morgan, who also designed Hearst Castle and worked in collaboration with William J. Dodd on a number of other projects.
In 1947, Hearst paid $120,000 for an H-shaped Beverly Hills mansion, (located at 1011 N. Beverly Dr.), on 3.7 acres three blocks from Sunset Boulevard. The Beverly House, as it has come to be known, has some cinematic connections. According to Hearst Over Hollywood, John and Jacqueline Kennedy stayed at the house for part of their honeymoon. The house appeared in the film The Godfather (1972).
In the early 1890s, Hearst began building a mansion on the hills overlooking Pleasanton, California, on land purchased by his father a decade earlier. Hearst's mother took over the project, hired Julia Morgan to finish it as her home, and named it Hacienda del Pozo de Verona. After her death, it was acquired by Castlewood Country Club, which used it as their clubhouse from 1925 to 1969, when it was destroyed in a major fire.
Art collection
Hearst was renowned for his extensive collection of international art that spanned centuries. Most notable in his collection were his Greek vases, Spanish and Italian furniture, Oriental carpets, Renaissance vestments, an extensive library with many books signed by their authors, and paintings and statues. In addition to collecting pieces of fine art, he also gathered manuscripts, rare books, and autographs. His guests included varied celebrities and politicians, who stayed in rooms furnished with pieces of antique furniture and decorated with artwork by famous artists.
Beginning in 1937, Hearst began selling some of his art collection to help relieve the debt burden he had suffered from the Depression. The first year he sold items for a total of $11 million. In 1941 he put about 20,000 items up for sale; these were evidence of his wide and varied tastes. Included in the sale items were paintings by van Dyke, crosiers, chalices, Charles Dickens's sideboard, pulpits, stained glass, arms and armor, George Washington's waistcoat, and Thomas Jefferson's Bible. When Hearst Castle was donated to the State of California, it was still sufficiently furnished for the whole house to be considered and operated as a museum.
St Donat's Castle
After seeing photographs, in Country Life Magazine, of St. Donat's Castle in Vale of Glamorgan, Wales, Hearst bought and renovated it in 1925 as a gift to Davies. The Castle was restored by Hearst, who spent a fortune buying entire rooms from other castles and palaces across the UK and Europe. The Great Hall was bought from the Bradenstoke Priory in Wiltshire and reconstructed brick by brick in its current site at St. Donat's. From the Bradenstoke Priory, he also bought and removed the guest house, Prior's lodging, and great tithe barn; of these, some of the materials became the St. Donat's banqueting hall, complete with a sixteenth-century French chimney-piece and windows; also used were a fireplace dated to c. 1514 and a fourteenth-century roof, which became part of the Bradenstoke Hall, despite this use being questioned in Parliament. Hearst built 34 green and white marble bathrooms for the many guest suites in the castle and completed a series of terraced gardens which survive intact today. Hearst and Davies spent much of their time entertaining, and held a number of lavish parties attended by guests including Charlie Chaplin, Douglas Fairbanks, Winston Churchill, and a young John F. Kennedy. When Hearst died, the castle was purchased by Antonin Besse II and donated to Atlantic College, an international boarding school founded by Kurt Hahn in 1962, which still uses it.
Interest in aviation
Hearst was particularly interested in the newly emerging technologies relating to aviation and had his first experience of flight in January 1910, in Los Angeles. Louis Paulhan, a French aviator, took him for an air trip on his Farman biplane. Hearst also sponsored Old Glory as well as the Hearst Transcontinental Prize.
Financial disaster
Hearst's crusade against Roosevelt and the New Deal, combined with union strikes and boycotts of his properties, undermined the financial strength of his empire. Circulation of his major publications declined in the mid-1930s, while rivals such as the New York Daily News were flourishing. He refused to take effective cost-cutting measures, and instead increased his very expensive art purchases. His friend Joseph P. Kennedy offered to buy the magazines, but Hearst jealously guarded his empire and refused. Instead, he sold some of his heavily mortgaged real estate. San Simeon itself was mortgaged to Los Angeles Times owner Harry Chandler in 1933 for $600,000.
Finally his financial advisors realized he was tens of millions of dollars in debt, and could not pay the interest on the loans, let alone reduce the principal. The proposed bond sale failed to attract investors, as Hearst's financial crisis became widely known. As Marion Davies's stardom waned, Hearst's movies also began to hemorrhage money. As the crisis deepened, he let go of most of his household staff, sold his exotic animals to the Los Angeles Zoo, and named a trustee to control his finances. He still refused to sell his beloved newspapers. At one point, to avoid outright bankruptcy, he had to accept a $1 million loan from Marion Davies, who sold all her jewelry, stocks and bonds to raise the cash for him. Davies also managed to raise him another million as a loan from Washington Herald owner Cissy Patterson. The trustee cut Hearst's annual salary to $500,000, and stopped the annual payment of $700,000 in dividends. He had to pay rent for living in his castle at San Simeon.
Legally Hearst avoided bankruptcy, although the public generally saw it as such as appraisers went through the tapestries, paintings, furniture, silver, pottery, buildings, autographs, jewelry, and other collectibles. Items in the thousands were gathered from a five-story warehouse in New York, warehouses near San Simeon containing large amounts of Greek sculpture and ceramics, and the contents of St. Donat's. His collections were sold off in a series of auctions and private sales in 1938–39. John D. Rockefeller, Junior, bought $100,000 of antique silver for his new museum at Colonial Williamsburg. The market for art and antiques had not recovered from the depression, so Hearst made an overall loss of hundreds of thousands of dollars. During this time, Hearst's friend George Loorz commented sarcastically: "He would like to start work on the outside pool [at San Simeon], start a new reservoir etc. but told me yesterday 'I want so many things but haven't got the money.' Poor fellow, let's take up a collection."
He was embarrassed in early 1939 when Time magazine published a feature which revealed he was at risk of defaulting on his mortgage for San Simeon and losing it to his creditor and publishing rival, Harry Chandler. This, however, was averted, as Chandler agreed to extend the repayment.
Final years and death
After the disastrous financial losses of the 1930s, the Hearst Company returned to profitability during the Second World War, when advertising revenues skyrocketed. Hearst, after spending much of the war at his estate of Wyntoon, returned to San Simeon full-time in 1945 and resumed building works. He also continued collecting, on a reduced scale. He threw himself into philanthropy by donating a great many works to the Los Angeles County Museum of Art.
In 1947, Hearst left his San Simeon estate to seek medical care, which was unavailable in the remote location. He died in Beverly Hills on August 14, 1951, at the age of 88. He was interred in the Hearst family mausoleum at the Cypress Lawn Cemetery in Colma, California, which his parents had established.
His will established two charitable trusts, the Hearst Foundation and the William Randolph Hearst Foundation. By his amended will, Marion Davies inherited 170,000 shares in the Hearst Corporation, which, combined with a trust fund of 30,000 shares that Hearst had established for her in 1950, gave her a controlling interest in the corporation. This was short-lived, as she relinquished the 170,000 shares to the Corporation on October 30, 1951, retaining her original 30,000 shares and a role as an advisor. Like their father, none of Hearst's five sons graduated from college. They all followed their father into the media business, and Hearst's namesake, William Randolph, Jr., became a Pulitzer Prize–winning newspaper reporter.
Criticism
In the 1890s, the already existing anti-Chinese and anti-Asian racism in San Francisco were further fanned by Hearst's anti-non-European descents, which were reflected in the rhetoric and the focus in The Examiner and one of his own signed editorials. These prejudices continued to be the mainstays throughout his journalistic career to galvanize his readers’ fears. Hearst staunchly supported the Japanese-American internment during WWII and used his media power to demonize Japanese-Americans and to drum up support for the internment of Japanese-Americans.
Some media outlets have attempted to bring attention to Hearst's involvement in the prohibition of cannabis in America. Hearst collaborated with Harry J. Anslinger to ban hemp due to the threat that the burgeoning hemp paper industry posed to his major investment and market share in the paper milling industry. This partnership to market propaganda against cannabis also created an immeasurable, long-lasting negative impact on global socioeconomics. Due to their efforts, hemp would remain illegal to grow in the US for almost a century, not being legalized until 2018.
As Martin Lee and Norman Solomon noted in their 1990 book Unreliable Sources, Hearst "routinely invented sensational stories, faked interviews, ran phony pictures and distorted real events". This approach discredited "yellow journalism".
Hearst's use of yellow journalism techniques in his New York Journal to whip up popular support for U.S. military adventurism in Cuba, Puerto Rico and the Philippines in 1898 was also criticized in Upton Sinclair's 1919 book, The Brass Check: A Study of American Journalism. According to Sinclair, Hearst's newspapers distorted world events and deliberately tried to discredit Socialists. Another critic, Ferdinand Lundberg, extended the criticism in Imperial Hearst (1936), charging that Hearst papers accepted payments from abroad to slant the news. After the war, a further critic, George Seldes, repeated the charges in Facts and Fascism (1947). Lundberg described Hearst "the weakest strong man and the strongest weak man in the world today... a giant with feet of clay."
In fiction
Citizen Kane
The film Citizen Kane (released on May 1, 1941) is loosely based on Hearst's life. Welles and his collaborator, screenwriter Herman J. Mankiewicz, created Kane as a composite character, among them Harold Fowler McCormick, Samuel Insull and Howard Hughes. Hearst, enraged at the idea of Citizen Kane being a thinly disguised and very unflattering portrait of him, used his massive influence and resources to prevent the film from being released—all without even having seen it. Welles and the studio RKO Pictures resisted the pressure but Hearst and his Hollywood friends ultimately succeeded in pressuring theater chains to limit showings of Citizen Kane, resulting in only moderate box-office numbers and seriously impairing Welles's career prospects. The fight over the film was documented in the Academy Award-nominated documentary, The Battle Over Citizen Kane, and nearly 60 years later, HBO offered a fictionalized version of Hearst's efforts in its original production RKO 281 (1999), in which James Cromwell portrays Hearst. Citizen Kane has twice been ranked No. 1 on AFI's 100 Years...100 Movies: in 1998 and 2007. In 2020, David Fincher directed Mank, starring Gary Oldman as Herman J. Mankiewicz, as he interacts with Hearst prior to the writing of Citizen Kane'''s screenplay. Charles Dance portrays Hearst in the film.
Other works
Films
In the television film Rough Riders (1997), Hearst (played by George Hamilton) is depicted as travelling to Cuba with a small band of journalists, to personally cover the Spanish–American War.
Hearst is mentioned in the Disney movie Newsies (1992), directed by Kenny Ortega, which depicts the Newsboys' Strike of 1899. Hearst is never seen onscreen but is referenced by several of the newsies in various musical numbers, and is portrayed as an antagonist engaged in a bitter circulation war with Joseph Pulitzer.
In the HBO movie Winchell (1998), Kevin Tighe played Hearst.
In RKO 281 He was played by James Cromwell.
The Cat's Meow (2001), a fictitious version of the death of Thomas H. Ince, takes place in November 1924, on a weekend cruise aboard publisher William Randolph Hearst's yacht, celebrating Ince's 44th birthday. The film's fictionalizes Ince's death by suggesting that Hearst shot Ince and covered it up. Hearst is portrayed by Edward Herrmann. (Ince actually became severely ill aboard Hearst's private yacht, and the official cause of the filmmaker's death was heart failure.)
He is portrayed by Matthew Marsh in Agnieszka Holland's 2019 film, Mr Jones.
He is portrayed by Charles Dance in David Fincher's 2020 film, Mank.
Literature
John Dos Passos's novel The Big Money (1936) includes a biographical sketch of Hearst.
Jack London's futuristic, dystopian novel of 1907, The Iron Heel, refers to Hearst by name; and the plot "predicts" the destruction of his publishing empire (along with the Democratic Party) in 1912, by means of an oligarchy of plutocrats and industrial trusts engineering the cessation of his advertising revenue.
In Ayn Rand's novel The Fountainhead (1943) and its eponymous 1949 film adaptation), the character Gail Wynand, a newspaper magnate who thinks he can control public sentiment but in reality is only a servant of the masses, is inspired by and modeled after the life of William Randolph Hearst.
In John Steinbeck's novel The Grapes of Wrath (1939), Hearst is anonymously described as the "newspaper fella near the coast" who "got a million acres" and looks "crazy an' mean" in pictures (ch. 18).
In Gore Vidal's historic novel series, Narratives of Empire, Hearst is a major character.
Scott Westerfeld's novel Goliath (2011) depicts Hearst in World War I.
In Charlaine Harris' The Russian Cage (2021) Hearst was the ruler of the HRE (formerly west coast states of US) who permitted the tsar and his entourage to settle in the defunct Navy base at San Diego.
Television
The rivalry between Hearst and Joseph Pulitzer has been documented on National Geographic Channel's series American Genius (2015).
In the TNT series "The Alienist", in the second season played by Matt Letscher.
In "The Paper Dynasty" (1964) episode of the syndicated Western television series, Death Valley Days, hosted by Stanley Andrews. In the story line, Hearst (played by James Hampton) struggles to turn a profit despite increased circulation of The San Francisco Examiner, featuring James Lanphier (1920–1969) as Ambrose Bierce and Robert O. Cornthwaite as Sam Chamberlain.
In "The Odyssey", a 1979 episode of the television series Little House on the Prairie, Hearst (played by Bill Ewing) is depicted as a friendly and talented young San Francisco journalist.
Hearst (portrayed by John Colton) appears in the season 2 episode "Hollywoodland" of the NBC series Timeless.
See also
Hearst Ranch
History of American newspapers
The Hacienda (Milpitas Ranchhouse)
References
Notes
Citations
Sources
Further reading
Bernhardt, Mark. "The Selling of Sex, Sleaze, Scuttlebutt, and other Shocking Sensations: The Evolution of New Journalism in San Francisco, 1887–1900." American Journalism 28#4 (2011): 111–42.
Carlisle, Rodney. "The Foreign Policy Views of an Isolationist Press Lord: W. R. Hearst & the International Crisis, 1936–41" Journal of Contemporary History (1974) 9#3 pp. 217–27.
Goldstein, Benjamin S. “‘A Legend Somewhat Larger than Life’: Karl H. von Wiegand and the Trajectory of Hearstian Sensationalist Journalism*.” Historical Research 94, no. 265 (August 1, 2021): 629–59. https://doi.org/10.1093/hisres/htab019.
Kastner, Victoria, with a foreword by Stephen T. Hearst (2013). Hearst Ranch: Family, Land and Legacy. New York: H. N. Abrams. .
Kastner, Victoria, with photographs by Victoria Garagliano (2000). Hearst Castle: The Biography of a Country House. New York: H. N. Abrams. .
Kastner, Victoria, with photographs by Victoria Garagliano (2009). Hearst's San Simeon: The Gardens and the Land. New York: H. N. Abrams. .
Landers, James. "Hearst's Magazine, 1912–1914: Muckraking Sensationalist." Journalism History 38.4 (2013): 221.
Leonard, Thomas C. "Hearst, William Randolph"; American National Biography Online (2000). Access Date: May 12, 2016
Thomas, Evan. The war lovers: Roosevelt, Lodge, Hearst, and the rush to empire, 1898 (2010).
Winkler, John K. W.R. Hearst An American Phenomenon'', Jonathan Cape, (1928)
External links
Hearst the Collector at LACMA
Zpub.com: William Randolph Hearst biography
The William Randolph Hearst Art Archive at Long Island University
Guide to the William Randolph Hearst Papers at The Bancroft Library
Hearstcastle.org: Hearst Castle at San Simeon
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1863 births
1951 deaths
19th-century American newspaper publishers (people)
19th-century art collectors
20th-century American newspaper founders
20th-century American newspaper publishers (people)
20th-century American politicians
20th-century art collectors
American animated film producers
American art collectors
American magazine founders
American magazine publishers (people)
American newspaper chain founders
American newspaper chain owners
American political party founders
American socialites
Burials at Cypress Lawn Memorial Park
Businesspeople from Los Angeles
Businesspeople from New Rochelle, New York
Businesspeople from San Francisco
California Democrats
Candidates in the 1904 United States presidential election
Democratic Party members of the United States House of Representatives
Harvard College alumni
The Harvard Lampoon alumni
Hasty Pudding alumni
William Randolph
Land owners from California
Members of the United States House of Representatives from New York (state)
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[
"John S. Batiuk (March 20, 1923 – August 1, 2005) was a municipal and provincial level politician from Alberta, Canada. He served as a member of the Legislative Assembly of Alberta from 1971 to 1986. Batiuk sat with the governing Progressive Conservative caucus.\n\nPolitical career\nBatiuk began his political career in 1968 when he ran for a seat on the newly created Municipal District of Lamont No, 82. He represented Division 1 until 1974.\n\nBatiuk moved to provincial politics running for a seat to the Alberta Legislature for the first time in the 1971 Alberta general election. He defeated incumbent Alex Gordey to win the redistributed electoral district of Vegreville and pick it up for the Progressive Conservatives who had formed government for the first time in that election. Despite winning provincial office Batiuk did not give up his municipal seat until his term expired.\n\nBatiuk won a slightly higher popular vote running for a second term in the 1975 Alberta general election. He was re-elected to his third term in office in the 1979 general election winning a slightly higher popular vote. The election was still closely contested with the NDP who won also won a close second in 1975.\n\nBatiuk won his fourth and final term in the 1982 general election. He retired from provincial politics at the dissolution of the legislature in 1986.\n\nReferences\n\nExternal links\nLegislative Assembly of Alberta Members Listing\n\nProgressive Conservative Association of Alberta MLAs\nAlberta municipal councillors\n2005 deaths\n1923 births\nPeople from Lamont County",
"Ramon \"Kumoi\" Santos Deleon Guerrero (September 19, 1946 – March 20, 2018) was a Northern Mariana Islands politician. Guerrero was an independent candidate for Governor of the Northern Mariana Islands in the 2009 gubernatorial election.\n\nGuerrero previously worked as an assistant to former Governor Froilan Tenorio for seven years.\nGuerrero also served as the former executive director of the Commonwealth Utilities Corporation (CUC) for four years.\n\nIn 1999, Guerrero was elected to the Northern Mariana Islands Senate as a member of the local Reform Party. He was sworn into office in 2000 and served as a Senator until 2004, when he left office after losing his 2003 re-election bid.\n\nGuerrero died at age 71, in Guam.\n\nBiography\n\nCampaign for Governor\n\nGuerrero announced his candidacy for Governor of the Northern Mariana Islands in January 2009. At the time, Guerrero said that he had made the final decision to run for governor in early December 2008. In a January 2009 telephone interview with the Saipan Tribune, Guerrero explained his motivation for his gubernatorial bid, \"The problems we're facing today are right in front of us. It's telling us how to solve it. We've been playing politics all the time. Politics, everything is politics. We cannot solve this problem by playing politics. We have to go straightforward. We just cannot play this game anymore.\" Speaking about incumbent office holders who were seeking the governorship in 2009, \"How many candidates are running for governor who are in office. What more can they promise? People are suffering. What else can they do? The people are suffering and I want to help. I've been there and I want to help.\"\n\nGuerrero further announced at the time that the slogan for his 2009 gubernatorial campaign slogan would be, \"'Time for a change.\" He held his first campaign strategy meeting with supporters at his home in As Perdido, Saipan, on January 23, 2009. Rudy Sablan became his campaign chairman.\n\nIn March 2009, Guerrero announced that he had chosen David Borja, the former commissioner of the Northern Mariana Islands Public School System, to be his running mate for lieutenant governor. Guerrero said that Borja was chosen from a list of 18 possible running mates, \"I asked my committee to streamline the Top 5. In the end, Dr. Borja emerged on top.\"\n\nThe Guerrero-Borja team became the first candidates to officially register with the Commonwealth Election Commission to run for Governor on July 10, 2009.\n\nDuring the campaign, Guerrero urged young people studying overseas to return to the Northern Mariana Islands after completing their education. Guerrero stated that he believed low wages were the major reason why young people choose to work on the U.S. mainland. He said the CNMI government needed to do more to encourage young people to stay in the Commonwealth and that the CNMI should pay workers \"their worth.\" He called on younger workers to return to the CNMI so that older workers could retire saying, \"This is their home and we, their people, need them.\"\n\nReferences\n\nExternal links\nRamon 'Kumoi' Guerrero (Kumoi Borja 2009)\n\n1946 births\n2018 deaths\nNorthern Mariana Islands Senators\nPeople from Saipan\nReform Party (Northern Mariana Islands) politicians"
] |
[
"William Randolph Hearst",
"Involvement in politics",
"When did he get involved in politics?",
"He narrowly failed in attempts to become mayor of New York City in both 1905 and 1909 and governor of New York in 1906,",
"Did he attempt to run for any other offices?",
"He was defeated for the governorship by Charles Evans Hughes.",
"Did he do anything else in politics aside from running for office?",
"Hearst was on the left wing of the Progressive Movement, speaking on behalf of the working class (who bought his papers)"
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Where did he speak?
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Where did William Randolph Hearst speak on behalf of the working class?
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William Randolph Hearst
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Hearst won two elections to Congress, then lost a series of elections. He narrowly failed in attempts to become mayor of New York City in both 1905 and 1909 and governor of New York in 1906, nominally remaining a Democrat while also creating the Independence Party. He was defeated for the governorship by Charles Evans Hughes. Hearst's unsuccessful campaigns for office after his tenure in the House of Representatives earned him the unflattering but short-lived nickname of "William 'Also-Randolph' Hearst", which was coined by Wallace Irwin. Hearst was on the left wing of the Progressive Movement, speaking on behalf of the working class (who bought his papers) and denouncing the rich and powerful (who disdained his editorials). With the support of Tammany Hall (the regular Democratic organization in Manhattan), he was elected to Congress in 1902 and 1904. He ran for the Democratic nomination for president in 1904, losing to a conservative New York judge, Alton B. Parker. Breaking with Tammany in 1907, Hearst ran for mayor of New York City under a third party of his own creation, the Municipal Ownership League). Tammany Hall exerted its utmost to defeat him. An opponent of the British Empire, Hearst opposed American involvement in the First World War and attacked the formation of the League of Nations. His newspapers abstained from endorsing any candidate in 1920 and 1924. Hearst's last bid for office came in 1922 when he was backed by Tammany Hall leaders for the U.S. Senate nomination in New York. Al Smith vetoed this, earning the lasting enmity of Hearst. Although Hearst shared Smith's opposition to Prohibition, he swung his papers behind Herbert Hoover in the 1928 presidential election. Hearst's support for Franklin D. Roosevelt at the 1932 Democratic National Convention, via his allies William Gibbs McAdoo and John Nance Garner, can also be seen as part of his vendetta against Smith, who was an opponent of Roosevelt's at that convention. CANNOTANSWER
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His newspapers
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William Randolph Hearst Sr. (; April 29, 1863 – August 14, 1951) was an American businessman, newspaper publisher, and politician known for developing the nation's largest newspaper chain and media company, Hearst Communications. His flamboyant methods of yellow journalism influenced the nation's popular media by emphasizing sensationalism and human interest stories. Hearst entered the publishing business in 1887 with Mitchell Trubitt after being given control of The San Francisco Examiner by his wealthy father, Senator George Hearst.
After moving to New York City, Hearst acquired the New York Journal and fought a bitter circulation war with Joseph Pulitzer's New York World. Hearst sold papers by printing giant headlines over lurid stories featuring crime, corruption, sex, and innuendo. Hearst acquired more newspapers and created a chain that numbered nearly 30 papers in major American cities at its peak. He later expanded to magazines, creating the largest newspaper and magazine business in the world. Hearst controlled the editorial positions and coverage of political news in all his papers and magazines, and thereby often published his personal views. He sensationalized Spanish atrocities in Cuba while calling for war in 1898 against Spain. Historians, however, reject his subsequent claims to have started the war with Spain as overly extravagant.
He was twice elected as a Democrat to the U.S. House of Representatives. He ran unsuccessfully for President of the United States in 1904, Mayor of New York City in 1905 and 1909, and for Governor of New York in 1906. During his political career, he espoused views generally associated with the left wing of the Progressive Movement, claiming to speak on behalf of the working class.
After 1918 and the end of World War I, Hearst gradually began adopting more conservative views and started promoting an isolationist foreign policy to avoid any more entanglement in what he regarded as corrupt European affairs. He was at once a militant nationalist, a fierce anti-communist after the Russian Revolution, and deeply suspicious of the League of Nations and of the British, French, Japanese, and Russians. He was a leading supporter of Franklin D. Roosevelt in 1932–1934, but then broke with FDR and became his most prominent enemy on the right. Hearst's empire reached a peak circulation of 20 million readers a day in the mid-1930s. He was a bad manager of finances and so deeply in debt during the Great Depression that most of his assets had to be liquidated in the late 1930s. Hearst managed to keep his newspapers and magazines.
His life story was the main inspiration for Charles Foster Kane, the lead character in Orson Welles's film Citizen Kane (1941). His Hearst Castle, constructed on a hill overlooking the Pacific Ocean near San Simeon, has been preserved as a State Historical Monument and is designated as a National Historic Landmark.
Ancestry and early life
William R. Hearst was born in San Francisco to George Hearst, a millionaire mining engineer, owner of gold and other mines through his corporation, and his much younger wife Phoebe Apperson Hearst, from a small town in Missouri. The elder Hearst later entered politics, and served as a US Senator, first appointed for a brief period in 1886, then elected later that year. He served from 1887 to his death in 1891.
His paternal great-grandfather was John Hearst of Ulster Protestant origin. John Hearst, with his wife and six children, migrated to America from Ballybay, County Monaghan, Ireland, as part of the Cahans Exodus in 1766, and settled in South Carolina. Their immigration to South Carolina was spurred in part by the colonial government's policy that encouraged the immigration of Irish Protestants, many of Scots origin. The names "John Hearse" and "John Hearse Jr." appear on the council records of October 26, 1766, being credited with meriting of land on the Long Canes (in what became Abbeville District), based upon to heads of household and for each dependent of a Protestant immigrant. The "Hearse" spelling of the family name never was used afterward by the family members themselves, or any family of any size. A separate theory purports that one branch of a "Hurst" family of Virginia (originally from Plymouth Colony) moved to South Carolina at about the same time and changed the spelling of its surname of over a century to that of the immigrant Hearsts. Hearst's mother, née Phoebe Elizabeth Apperson, was also of Scots-Irish ancestry; her family came from Galway. She was appointed as the first woman regent of University of California, Berkeley, donated funds to establish libraries at several universities, funded many anthropological expeditions, and founded the Phoebe A. Hearst Museum of Anthropology.
Hearst attended prep school at St. Paul's School in Concord, New Hampshire. He enrolled in the Harvard College class of 1885. While there he was a member of Delta Kappa Epsilon, the A.D. Club (a Harvard Final club), the Hasty Pudding Theatricals, and of the Lampoon before being expelled. His antics had ranged from sponsoring massive beer parties in Harvard Square to sending pudding pots used as chamber pots to his professors (their images were depicted within the bowls).
Publishing business
Searching for an occupation, in 1887 Hearst took over management of his father's newspaper, the San Francisco Examiner, which his father had acquired in 1880 as repayment for a gambling debt. Giving his paper the grand motto "Monarch of the Dailies", Hearst acquired the best equipment and the most talented writers of the time, including Ambrose Bierce, Mark Twain, Jack London, and political cartoonist Homer Davenport. A self-proclaimed populist, Hearst reported accounts of municipal and financial corruption, often attacking companies in which his own family held an interest. Within a few years, his paper dominated the San Francisco market.
New York Morning Journal
Early in his career at the San Francisco Examiner, Hearst envisioned running a large newspaper chain, and "always knew that his dream of a nation-spanning, multi-paper news operation was impossible without a triumph in New York". In 1895, with the financial support of his widowed mother (his father had died in 1891), Hearst bought the failing New York Morning Journal, hiring writers such as Stephen Crane and Julian Hawthorne, and entering into a head-to-head circulation war with Joseph Pulitzer, owner and publisher of the New York World. Hearst "stole" Richard F. Outcault, the creator of color comics, and all of Pulitzer's Sunday staff as well. Another prominent hire was James J. Montague, who came from the Portland Oregonian and started his well-known "More Truth Than Poetry" column at the Hearst-owned New York Evening Journal.
When Hearst purchased the "penny paper", so called because its copies sold for a penny apiece, the Journal was competing with New York's 16 other major dailies. It had a strong focus on Democratic Party politics. Hearst imported his best managers from the San Francisco Examiner and "quickly established himself as the most attractive employer" among New York newspapers. He was generous, paid more than his competitors, gave credit to his writers with page-one bylines, and was unfailingly polite, unassuming, "impeccably calm", and indulgent of "prima donnas, eccentrics, bohemians, drunks, or reprobates so long as they had useful talents".
Hearst's activist approach to journalism can be summarized by the motto, "While others Talk, the Journal Acts."
Yellow journalism and rivalry with the New York World
The New York Journal and its chief rival, the New York World, mastered a style of popular journalism that came to be derided as "yellow journalism", after Outcault's Yellow Kid comic. Pulitzer's World had pushed the boundaries of mass appeal for newspapers through bold headlines, aggressive news gathering, generous use of cartoons and illustrations, populist politics, progressive crusades, an exuberant public spirit, and dramatic crime and human-interest stories. Hearst's Journal used the same recipe for success, forcing Pulitzer to drop the price of the World from two cents to a penny. Soon the two papers were locked in a fierce, often spiteful competition for readers in which both papers spent large sums of money and saw huge gains in circulation.
Within a few months of purchasing the Journal, Hearst hired away Pulitzer's three top editors: Sunday editor Morrill Goddard, who greatly expanded the scope and appeal of the American Sunday newspaper; Solomon Carvalho, and a young Arthur Brisbane, who became managing editor of the Hearst newspaper empire, and a legendary columnist. Contrary to popular assumption, they were not lured away by higher pay—rather, each man had grown tired of the temperamental, domineering Pulitzer and the paranoid, back-biting office politics which he encouraged.
While Hearst's many critics attribute the Journals incredible success to cheap sensationalism, Kenneth Whyte noted in The Uncrowned King: The Sensational Rise Of William Randolph Hearst: "Rather than racing to the bottom, he [Hearst] drove the Journal and the penny press upmarket. The Journal was a demanding, sophisticated paper by contemporary standards." Though yellow journalism would be much maligned, Whyte said, "All good yellow journalists ... sought the human in every story and edited without fear of emotion or drama. They wore their feelings on their pages, believing it was an honest and wholesome way to communicate with readers", but, as Whyte pointed out: "This appeal to feelings is not an end in itself... [they believed] our emotions tend to ignite our intellects: a story catering to a reader's feelings is more likely than a dry treatise to stimulate thought."
The two papers finally declared a truce in late 1898, after both lost vast amounts of money covering the Spanish–American War. Hearst probably lost several million dollars in his first three years as publisher of the Journal (figures are impossible to verify) but the paper began turning a profit after it ended its fight with the World.
Under Hearst, the Journal remained loyal to the populist or left wing of the Democratic Party. It was the only major publication in the East to support William Jennings Bryan in 1896. Its coverage of that election was probably the most important of any newspaper in the country, attacking relentlessly the unprecedented role of money in the Republican campaign and the dominating role played by William McKinley's political and financial manager, Mark Hanna, the first national party 'boss' in American history. A year after taking over the paper, Hearst could boast that sales of the Journal's post-election issue (including the evening and German-language editions) topped 1.5 million, a record "unparalleled in the history of the world."
The Journal's political coverage, however, was not entirely one-sided. Kenneth Whyte says that most editors of the time "believed their papers should speak with one voice on political matters"; by contrast, in New York, Hearst "helped to usher in the multi-perspective approach we identify with the modern op-ed page". At first he supported the Russian Revolution of 1917 but later he turned against it. Hearst fought hard against Wilsonian internationalism, the League of Nations, and the World Court, thereby appealing to an isolationist audience.
Spanish–American War
The Morning Journal's daily circulation routinely climbed above the 1 million mark after the sinking of the and U.S. entry into the Spanish–American War, a war that some called The Journals War, due to the paper's immense influence in provoking American outrage against Spain. Much of the coverage leading up to the war, beginning with the outbreak of the Cuban Revolution in 1895, was tainted by rumor, propaganda, and sensationalism, with the "yellow" papers regarded as the worst offenders. The Journal and other New York newspapers were so one-sided and full of errors in their reporting that coverage of the Cuban crisis and the ensuing Spanish–American War is often cited as one of the most significant milestones in the rise of yellow journalism's hold over the mainstream media. Huge headlines in the Journal assigned blame for the Maine's destruction on sabotage, which was based on no evidence. This reporting stoked outrage and indignation against Spain among the paper's readers in New York.
The Journal's crusade against Spanish rule in Cuba was not due to mere jingoism, although "the democratic ideals and humanitarianism that inspired their coverage are largely lost to history," as are their "heroic efforts to find the truth on the island under unusually difficult circumstances." The Journal's journalistic activism in support of the Cuban rebels, rather, was centered around Hearst's political and business ambitions.
Perhaps the best known myth in American journalism is the claim, without any contemporary evidence, that the illustrator Frederic Remington, sent by Hearst to Cuba to cover the Cuban War of Independence, cabled Hearst to tell him all was quiet in Cuba. Hearst, in this canard, is said to have responded, "Please remain. You furnish the pictures and I'll furnish the war."
Hearst was personally dedicated to the cause of the Cuban rebels, and the Journal did some of the most important and courageous reporting on the conflict—as well as some of the most sensationalized. Their stories on the Cuban rebellion and Spain's atrocities on the island—many of which turned out to be untrue—were motivated primarily by Hearst's outrage at Spain's brutal policies on the island. These had resulted in the deaths of hundreds of thousands of innocent Cubans. The most well-known story involved the imprisonment and escape of Cuban prisoner Evangelina Cisneros.
While Hearst and the yellow press did not directly cause America's war with Spain, they inflamed public opinion in New York City to a fever pitch. New York's elites read other papers, such as the Times and Sun, which were far more restrained. The Journal and the World were local papers oriented to a very large working class audience in New York City. They were not among the top ten sources of news in papers in other cities, and their stories did not make a splash outside New York City. Outrage across the country came from evidence of what Spain was doing in Cuba, a major influence in the decision by Congress to declare war.
According to a 21st-century historian, war was declared by Congress because public opinion was sickened by the bloodshed, and because leaders like McKinley realized that Spain had lost control of Cuba. These factors weighed more on the president's mind than the melodramas in the New York Journal.
Hearst sailed to Cuba with a small army of Journal reporters to cover the Spanish–American War; they brought along portable printing equipment, which was used to print a single-edition newspaper in Cuba after the fighting had ended. Two of the Journal's correspondents, James Creelman and Edward Marshall, were wounded in the fighting. A leader of the Cuban rebels, Gen. Calixto García, gave Hearst a Cuban flag that had been riddled with bullets as a gift, in appreciation of Hearst's major role in Cuba's liberation.
Expansion
In part to aid in his political ambitions, Hearst opened newspapers in other cities, among them Chicago, Los Angeles and Boston. In 1915, he founded International Film Service, an animation studio designed to exploit the popularity of the comic strips he controlled. The creation of his Chicago paper was requested by the Democratic National Committee. Hearst used this as an excuse for his mother Phoebe Hearst to transfer him the necessary start-up funds. By the mid-1920s he had a nationwide string of 28 newspapers, among them the Los Angeles Examiner, the Boston American, the Atlanta Georgian, the Chicago Examiner, the Detroit Times, the Seattle Post-Intelligencer, the Washington Times, the Washington Herald, and his flagship, the San Francisco Examiner.
Hearst also diversified his publishing interests into book publishing and magazines. Several of the latter are still in circulation, including such periodicals as Cosmopolitan, Good Housekeeping, Town and Country, and Harper's Bazaar.
In 1924, Hearst opened the New York Daily Mirror, a racy tabloid frankly imitating the New York Daily News. Among his other holdings were two news services, Universal News and International News Service, or INS, the latter of which he founded in 1909. He also owned INS companion radio station WINS in New York; King Features Syndicate, which still owns the copyrights of a number of popular comics characters; a film company, Cosmopolitan Productions; extensive New York City real estate; and thousands of acres of land in California and Mexico, along with timber and mining interests inherited from his father.
Hearst promoted writers and cartoonists despite the lack of any apparent demand for them by his readers. The press critic A. J. Liebling reminds us how many of Hearst's stars would not have been deemed employable elsewhere. One Hearst favorite, George Herriman, was the inventor of the dizzy comic strip Krazy Kat. Not especially popular with either readers or editors when it was first published, in the 21st century, it is considered a classic, a belief once held only by Hearst himself.
In 1929, he became one of the sponsors of the first round-the-world voyage in an airship, the LZ 127 Graf Zeppelin from Germany. His sponsorship was conditional on the trip starting at Lakehurst Naval Air Station, New Jersey. The ship's captain, Dr. Hugo Eckener, first flew the Graf Zeppelin across the Atlantic from Germany to pick up Hearst's photographer and at least three Hearst correspondents. One of them, Grace Marguerite Hay Drummond-Hay, by that flight became the first woman to travel around the world by air.
The Hearst news empire reached a revenue peak about 1928, but the economic collapse of the Great Depression in the United States and the vast over-extension of his empire cost him control of his holdings. It is unlikely that the newspapers ever paid their own way; mining, ranching and forestry provided whatever dividends the Hearst Corporation paid out. When the collapse came, all Hearst properties were hit hard, but none more so than the papers. Hearst's conservative politics, increasingly at odds with those of his readers, worsened matters for the once great Hearst media chain. Having been refused the right to sell another round of bonds to unsuspecting investors, the shaky empire tottered. Unable to service its existing debts, Hearst Corporation faced a court-mandated reorganization in 1937.
From that point, Hearst was reduced to being an employee, subject to the directives of an outside manager. Newspapers and other properties were liquidated, the film company shut down; there was even a well-publicized sale of art and antiquities. While World War II restored circulation and advertising revenues, his great days were over. The Hearst Corporation continues to this day as a large, privately held media conglomerate based in New York City.
Involvement in politics
Hearst won two elections to Congress, then lost a series of elections. He narrowly failed in attempts to become mayor of New York City in both 1905 and 1909 and governor of New York in 1906, nominally remaining a Democrat while also creating the Independence Party. He was defeated for the governorship by Charles Evans Hughes. Hearst's unsuccessful campaigns for office after his tenure in the House of Representatives earned him the unflattering but short-lived nickname of "William 'Also-Randolph' Hearst", which was coined by Wallace Irwin.
Hearst was on the left wing of the Progressive Movement, speaking on behalf of the working class (who bought his papers) and denouncing the rich and powerful (who disdained his editorials). With the support of Tammany Hall (the regular Democratic organization in Manhattan), Hearst was elected to Congress from New York in 1902 and 1904. He made a major effort to win the 1904 Democratic nomination for president, losing to conservative Alton B. Parker. Breaking with Tammany in 1907, Hearst ran for mayor of New York City under a third party of his own creation, the Municipal Ownership League. Tammany Hall exerted its utmost to defeat him.
An opponent of the British Empire, Hearst opposed American involvement in the First World War and attacked the formation of the League of Nations. His newspapers abstained from endorsing any candidate in 1920 and 1924. Hearst's last bid for office came in 1922, when he was backed by Tammany Hall leaders for the U.S. Senate nomination in New York. Al Smith vetoed this, earning the lasting enmity of Hearst. Although Hearst shared Smith's opposition to Prohibition, he swung his papers behind Herbert Hoover in the 1928 presidential election. Hearst's support for Franklin D. Roosevelt at the 1932 Democratic National Convention, via his allies William Gibbs McAdoo and John Nance Garner, can also be seen as part of his vendetta against Smith, who was an opponent of Roosevelt's at that convention.
Move to the right
During the 1920s Hearst was a Jeffersonian Democrat. He warned citizens against the dangers of big government and against unchecked federal power that could infringe on individual rights. Hearst supported FDR in 1932, but then became critical of the New Deal. More and more often, Hearst newspapers supported business over organized labor and condemned higher income tax legislation.
Hearst broke with FDR in spring 1935 when the president vetoed the Patman Bonus Bill for veterans and tried to enter the World Court. Hearst's papers were his weapon. They carried the publisher's rambling, vitriolic, all-capital-letters editorials, but he no longer employed the energetic reporters, editors, and columnists who might have made a serious attack. He reached 20 million readers in the mid-1930s, but they included much of the working class which Roosevelt had attracted by three-to-one margins in the 1936 election. The Hearst papers—like most major chains—had supported the Republican Alf Landon that year.
While campaigning against Roosevelt's policy of developing formal diplomatic relations with the Soviet Union, in 1935 Hearst ordered his editors to reprint eyewitness accounts of the Ukrainian famine (the Holdomor). These had been supplied in 1933 by Welsh freelance journalist Gareth Jones, and by the disillusioned American Communist Fred Beal. The New York Times, content with what it has since conceded was "tendentious" reporting of Soviet achievements, printed the blanket denials of its Pulitzer Prize-winning Moscow correspondent Walter Duranty. Duranty, who was widely credited with facilitating the rapprochement with Moscow, dismissed the Hearst-circulated reports of made-made starvation as a politically-motivated "scare story".
In the articles, written by Thomas Walker, to better serve Hearst 's editorial line against Roosevelt's Soviet policy the famine was "updated"; placed in 1934 rather than 1932-1933. In The Nation, Louis Fischer accused Walker of pure invention. Fischer had been to the Ukraine in 1934 and had seen no famine. He interpreted the whole affair as merely an attempt by Hearst to "spoil Soviet-American relations" as part of "an anti-red campaign".
In 1934, after checking with Jewish leaders to ensure a visit would be to their benefit, Hearst visited Berlin to interview Adolf Hitler. When Hitler asked why he was so misunderstood by the American press, Hearst retorted: "Because Americans believe in democracy, and are averse to dictatorship." Hearst's papers ran columns without rebuttal by Nazi leader Hermann Göring and Hitler himself, as well as Mussolini and other dictators in Europe and Latin America. During that same year 1934, Japan / U.S. relations were unstable. In an attempt to remedy this, Prince Tokugawa Iesato traveled throughout the United States on a goodwill visit. During his visit, Prince Iesato and his delegation met with William Randolph Hearst with the hope of improving mutual understanding between the two nations.
Personal life
Millicent Willson
In 1903, Hearst married Millicent Veronica Willson (1882–1974), a 21-year-old chorus girl, in New York City. Evidence in Louis Pizzitola's book, Hearst Over Hollywood, indicates that Millicent's mother Hannah Willson ran a Tammany-connected and protected brothel near the headquarters of political power in New York City at the turn of the 20th century. Millicent bore him five sons: George Randolph Hearst, born on April 23, 1904; William Randolph Hearst Jr., born on January 27, 1908; John Randolph Hearst, born in 1910; and twins Randolph Apperson Hearst and David Whitmire (né Elbert Willson) Hearst, born on December 2, 1915.
Marion Davies
Conceding an end to his political hopes, Hearst became involved in an affair with the film actress and comedian Marion Davies (1897–1961), former mistress of his friend Paul Block. From about 1919, he lived openly with her in California. After the death of Patricia Lake (1919/1923–1993), who had been presented as Davies's "niece," her family confirmed that she was Davies's and Hearst's daughter. She had acknowledged this before her death.
Millicent separated from Hearst in the mid-1920s after tiring of his longtime affair with Davies, but the couple remained legally married until Hearst's death. Millicent built an independent life for herself in New York City as a leading philanthropist. She was active in society and in 1921 created the Free Milk Fund for the poor.
California properties
Beginning in 1919, Hearst began to build Hearst Castle, which he never completed, on a ranch at San Simeon, California, which he had inherited from his father. He furnished the mansion with art, antiques, and entire historic rooms purchased and brought from the great houses of Europe. He established an Arabian horse breeding operation on the grounds.
Hearst also had a property on the McCloud River in Siskiyou County, in far northern California, called Wyntoon. The buildings at Wyntoon were designed by architect Julia Morgan, who also designed Hearst Castle and worked in collaboration with William J. Dodd on a number of other projects.
In 1947, Hearst paid $120,000 for an H-shaped Beverly Hills mansion, (located at 1011 N. Beverly Dr.), on 3.7 acres three blocks from Sunset Boulevard. The Beverly House, as it has come to be known, has some cinematic connections. According to Hearst Over Hollywood, John and Jacqueline Kennedy stayed at the house for part of their honeymoon. The house appeared in the film The Godfather (1972).
In the early 1890s, Hearst began building a mansion on the hills overlooking Pleasanton, California, on land purchased by his father a decade earlier. Hearst's mother took over the project, hired Julia Morgan to finish it as her home, and named it Hacienda del Pozo de Verona. After her death, it was acquired by Castlewood Country Club, which used it as their clubhouse from 1925 to 1969, when it was destroyed in a major fire.
Art collection
Hearst was renowned for his extensive collection of international art that spanned centuries. Most notable in his collection were his Greek vases, Spanish and Italian furniture, Oriental carpets, Renaissance vestments, an extensive library with many books signed by their authors, and paintings and statues. In addition to collecting pieces of fine art, he also gathered manuscripts, rare books, and autographs. His guests included varied celebrities and politicians, who stayed in rooms furnished with pieces of antique furniture and decorated with artwork by famous artists.
Beginning in 1937, Hearst began selling some of his art collection to help relieve the debt burden he had suffered from the Depression. The first year he sold items for a total of $11 million. In 1941 he put about 20,000 items up for sale; these were evidence of his wide and varied tastes. Included in the sale items were paintings by van Dyke, crosiers, chalices, Charles Dickens's sideboard, pulpits, stained glass, arms and armor, George Washington's waistcoat, and Thomas Jefferson's Bible. When Hearst Castle was donated to the State of California, it was still sufficiently furnished for the whole house to be considered and operated as a museum.
St Donat's Castle
After seeing photographs, in Country Life Magazine, of St. Donat's Castle in Vale of Glamorgan, Wales, Hearst bought and renovated it in 1925 as a gift to Davies. The Castle was restored by Hearst, who spent a fortune buying entire rooms from other castles and palaces across the UK and Europe. The Great Hall was bought from the Bradenstoke Priory in Wiltshire and reconstructed brick by brick in its current site at St. Donat's. From the Bradenstoke Priory, he also bought and removed the guest house, Prior's lodging, and great tithe barn; of these, some of the materials became the St. Donat's banqueting hall, complete with a sixteenth-century French chimney-piece and windows; also used were a fireplace dated to c. 1514 and a fourteenth-century roof, which became part of the Bradenstoke Hall, despite this use being questioned in Parliament. Hearst built 34 green and white marble bathrooms for the many guest suites in the castle and completed a series of terraced gardens which survive intact today. Hearst and Davies spent much of their time entertaining, and held a number of lavish parties attended by guests including Charlie Chaplin, Douglas Fairbanks, Winston Churchill, and a young John F. Kennedy. When Hearst died, the castle was purchased by Antonin Besse II and donated to Atlantic College, an international boarding school founded by Kurt Hahn in 1962, which still uses it.
Interest in aviation
Hearst was particularly interested in the newly emerging technologies relating to aviation and had his first experience of flight in January 1910, in Los Angeles. Louis Paulhan, a French aviator, took him for an air trip on his Farman biplane. Hearst also sponsored Old Glory as well as the Hearst Transcontinental Prize.
Financial disaster
Hearst's crusade against Roosevelt and the New Deal, combined with union strikes and boycotts of his properties, undermined the financial strength of his empire. Circulation of his major publications declined in the mid-1930s, while rivals such as the New York Daily News were flourishing. He refused to take effective cost-cutting measures, and instead increased his very expensive art purchases. His friend Joseph P. Kennedy offered to buy the magazines, but Hearst jealously guarded his empire and refused. Instead, he sold some of his heavily mortgaged real estate. San Simeon itself was mortgaged to Los Angeles Times owner Harry Chandler in 1933 for $600,000.
Finally his financial advisors realized he was tens of millions of dollars in debt, and could not pay the interest on the loans, let alone reduce the principal. The proposed bond sale failed to attract investors, as Hearst's financial crisis became widely known. As Marion Davies's stardom waned, Hearst's movies also began to hemorrhage money. As the crisis deepened, he let go of most of his household staff, sold his exotic animals to the Los Angeles Zoo, and named a trustee to control his finances. He still refused to sell his beloved newspapers. At one point, to avoid outright bankruptcy, he had to accept a $1 million loan from Marion Davies, who sold all her jewelry, stocks and bonds to raise the cash for him. Davies also managed to raise him another million as a loan from Washington Herald owner Cissy Patterson. The trustee cut Hearst's annual salary to $500,000, and stopped the annual payment of $700,000 in dividends. He had to pay rent for living in his castle at San Simeon.
Legally Hearst avoided bankruptcy, although the public generally saw it as such as appraisers went through the tapestries, paintings, furniture, silver, pottery, buildings, autographs, jewelry, and other collectibles. Items in the thousands were gathered from a five-story warehouse in New York, warehouses near San Simeon containing large amounts of Greek sculpture and ceramics, and the contents of St. Donat's. His collections were sold off in a series of auctions and private sales in 1938–39. John D. Rockefeller, Junior, bought $100,000 of antique silver for his new museum at Colonial Williamsburg. The market for art and antiques had not recovered from the depression, so Hearst made an overall loss of hundreds of thousands of dollars. During this time, Hearst's friend George Loorz commented sarcastically: "He would like to start work on the outside pool [at San Simeon], start a new reservoir etc. but told me yesterday 'I want so many things but haven't got the money.' Poor fellow, let's take up a collection."
He was embarrassed in early 1939 when Time magazine published a feature which revealed he was at risk of defaulting on his mortgage for San Simeon and losing it to his creditor and publishing rival, Harry Chandler. This, however, was averted, as Chandler agreed to extend the repayment.
Final years and death
After the disastrous financial losses of the 1930s, the Hearst Company returned to profitability during the Second World War, when advertising revenues skyrocketed. Hearst, after spending much of the war at his estate of Wyntoon, returned to San Simeon full-time in 1945 and resumed building works. He also continued collecting, on a reduced scale. He threw himself into philanthropy by donating a great many works to the Los Angeles County Museum of Art.
In 1947, Hearst left his San Simeon estate to seek medical care, which was unavailable in the remote location. He died in Beverly Hills on August 14, 1951, at the age of 88. He was interred in the Hearst family mausoleum at the Cypress Lawn Cemetery in Colma, California, which his parents had established.
His will established two charitable trusts, the Hearst Foundation and the William Randolph Hearst Foundation. By his amended will, Marion Davies inherited 170,000 shares in the Hearst Corporation, which, combined with a trust fund of 30,000 shares that Hearst had established for her in 1950, gave her a controlling interest in the corporation. This was short-lived, as she relinquished the 170,000 shares to the Corporation on October 30, 1951, retaining her original 30,000 shares and a role as an advisor. Like their father, none of Hearst's five sons graduated from college. They all followed their father into the media business, and Hearst's namesake, William Randolph, Jr., became a Pulitzer Prize–winning newspaper reporter.
Criticism
In the 1890s, the already existing anti-Chinese and anti-Asian racism in San Francisco were further fanned by Hearst's anti-non-European descents, which were reflected in the rhetoric and the focus in The Examiner and one of his own signed editorials. These prejudices continued to be the mainstays throughout his journalistic career to galvanize his readers’ fears. Hearst staunchly supported the Japanese-American internment during WWII and used his media power to demonize Japanese-Americans and to drum up support for the internment of Japanese-Americans.
Some media outlets have attempted to bring attention to Hearst's involvement in the prohibition of cannabis in America. Hearst collaborated with Harry J. Anslinger to ban hemp due to the threat that the burgeoning hemp paper industry posed to his major investment and market share in the paper milling industry. This partnership to market propaganda against cannabis also created an immeasurable, long-lasting negative impact on global socioeconomics. Due to their efforts, hemp would remain illegal to grow in the US for almost a century, not being legalized until 2018.
As Martin Lee and Norman Solomon noted in their 1990 book Unreliable Sources, Hearst "routinely invented sensational stories, faked interviews, ran phony pictures and distorted real events". This approach discredited "yellow journalism".
Hearst's use of yellow journalism techniques in his New York Journal to whip up popular support for U.S. military adventurism in Cuba, Puerto Rico and the Philippines in 1898 was also criticized in Upton Sinclair's 1919 book, The Brass Check: A Study of American Journalism. According to Sinclair, Hearst's newspapers distorted world events and deliberately tried to discredit Socialists. Another critic, Ferdinand Lundberg, extended the criticism in Imperial Hearst (1936), charging that Hearst papers accepted payments from abroad to slant the news. After the war, a further critic, George Seldes, repeated the charges in Facts and Fascism (1947). Lundberg described Hearst "the weakest strong man and the strongest weak man in the world today... a giant with feet of clay."
In fiction
Citizen Kane
The film Citizen Kane (released on May 1, 1941) is loosely based on Hearst's life. Welles and his collaborator, screenwriter Herman J. Mankiewicz, created Kane as a composite character, among them Harold Fowler McCormick, Samuel Insull and Howard Hughes. Hearst, enraged at the idea of Citizen Kane being a thinly disguised and very unflattering portrait of him, used his massive influence and resources to prevent the film from being released—all without even having seen it. Welles and the studio RKO Pictures resisted the pressure but Hearst and his Hollywood friends ultimately succeeded in pressuring theater chains to limit showings of Citizen Kane, resulting in only moderate box-office numbers and seriously impairing Welles's career prospects. The fight over the film was documented in the Academy Award-nominated documentary, The Battle Over Citizen Kane, and nearly 60 years later, HBO offered a fictionalized version of Hearst's efforts in its original production RKO 281 (1999), in which James Cromwell portrays Hearst. Citizen Kane has twice been ranked No. 1 on AFI's 100 Years...100 Movies: in 1998 and 2007. In 2020, David Fincher directed Mank, starring Gary Oldman as Herman J. Mankiewicz, as he interacts with Hearst prior to the writing of Citizen Kane'''s screenplay. Charles Dance portrays Hearst in the film.
Other works
Films
In the television film Rough Riders (1997), Hearst (played by George Hamilton) is depicted as travelling to Cuba with a small band of journalists, to personally cover the Spanish–American War.
Hearst is mentioned in the Disney movie Newsies (1992), directed by Kenny Ortega, which depicts the Newsboys' Strike of 1899. Hearst is never seen onscreen but is referenced by several of the newsies in various musical numbers, and is portrayed as an antagonist engaged in a bitter circulation war with Joseph Pulitzer.
In the HBO movie Winchell (1998), Kevin Tighe played Hearst.
In RKO 281 He was played by James Cromwell.
The Cat's Meow (2001), a fictitious version of the death of Thomas H. Ince, takes place in November 1924, on a weekend cruise aboard publisher William Randolph Hearst's yacht, celebrating Ince's 44th birthday. The film's fictionalizes Ince's death by suggesting that Hearst shot Ince and covered it up. Hearst is portrayed by Edward Herrmann. (Ince actually became severely ill aboard Hearst's private yacht, and the official cause of the filmmaker's death was heart failure.)
He is portrayed by Matthew Marsh in Agnieszka Holland's 2019 film, Mr Jones.
He is portrayed by Charles Dance in David Fincher's 2020 film, Mank.
Literature
John Dos Passos's novel The Big Money (1936) includes a biographical sketch of Hearst.
Jack London's futuristic, dystopian novel of 1907, The Iron Heel, refers to Hearst by name; and the plot "predicts" the destruction of his publishing empire (along with the Democratic Party) in 1912, by means of an oligarchy of plutocrats and industrial trusts engineering the cessation of his advertising revenue.
In Ayn Rand's novel The Fountainhead (1943) and its eponymous 1949 film adaptation), the character Gail Wynand, a newspaper magnate who thinks he can control public sentiment but in reality is only a servant of the masses, is inspired by and modeled after the life of William Randolph Hearst.
In John Steinbeck's novel The Grapes of Wrath (1939), Hearst is anonymously described as the "newspaper fella near the coast" who "got a million acres" and looks "crazy an' mean" in pictures (ch. 18).
In Gore Vidal's historic novel series, Narratives of Empire, Hearst is a major character.
Scott Westerfeld's novel Goliath (2011) depicts Hearst in World War I.
In Charlaine Harris' The Russian Cage (2021) Hearst was the ruler of the HRE (formerly west coast states of US) who permitted the tsar and his entourage to settle in the defunct Navy base at San Diego.
Television
The rivalry between Hearst and Joseph Pulitzer has been documented on National Geographic Channel's series American Genius (2015).
In the TNT series "The Alienist", in the second season played by Matt Letscher.
In "The Paper Dynasty" (1964) episode of the syndicated Western television series, Death Valley Days, hosted by Stanley Andrews. In the story line, Hearst (played by James Hampton) struggles to turn a profit despite increased circulation of The San Francisco Examiner, featuring James Lanphier (1920–1969) as Ambrose Bierce and Robert O. Cornthwaite as Sam Chamberlain.
In "The Odyssey", a 1979 episode of the television series Little House on the Prairie, Hearst (played by Bill Ewing) is depicted as a friendly and talented young San Francisco journalist.
Hearst (portrayed by John Colton) appears in the season 2 episode "Hollywoodland" of the NBC series Timeless.
See also
Hearst Ranch
History of American newspapers
The Hacienda (Milpitas Ranchhouse)
References
Notes
Citations
Sources
Further reading
Bernhardt, Mark. "The Selling of Sex, Sleaze, Scuttlebutt, and other Shocking Sensations: The Evolution of New Journalism in San Francisco, 1887–1900." American Journalism 28#4 (2011): 111–42.
Carlisle, Rodney. "The Foreign Policy Views of an Isolationist Press Lord: W. R. Hearst & the International Crisis, 1936–41" Journal of Contemporary History (1974) 9#3 pp. 217–27.
Goldstein, Benjamin S. “‘A Legend Somewhat Larger than Life’: Karl H. von Wiegand and the Trajectory of Hearstian Sensationalist Journalism*.” Historical Research 94, no. 265 (August 1, 2021): 629–59. https://doi.org/10.1093/hisres/htab019.
Kastner, Victoria, with a foreword by Stephen T. Hearst (2013). Hearst Ranch: Family, Land and Legacy. New York: H. N. Abrams. .
Kastner, Victoria, with photographs by Victoria Garagliano (2000). Hearst Castle: The Biography of a Country House. New York: H. N. Abrams. .
Kastner, Victoria, with photographs by Victoria Garagliano (2009). Hearst's San Simeon: The Gardens and the Land. New York: H. N. Abrams. .
Landers, James. "Hearst's Magazine, 1912–1914: Muckraking Sensationalist." Journalism History 38.4 (2013): 221.
Leonard, Thomas C. "Hearst, William Randolph"; American National Biography Online (2000). Access Date: May 12, 2016
Thomas, Evan. The war lovers: Roosevelt, Lodge, Hearst, and the rush to empire, 1898 (2010).
Winkler, John K. W.R. Hearst An American Phenomenon'', Jonathan Cape, (1928)
External links
Hearst the Collector at LACMA
Zpub.com: William Randolph Hearst biography
The William Randolph Hearst Art Archive at Long Island University
Guide to the William Randolph Hearst Papers at The Bancroft Library
Hearstcastle.org: Hearst Castle at San Simeon
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1863 births
1951 deaths
19th-century American newspaper publishers (people)
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American animated film producers
American art collectors
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Burials at Cypress Lawn Memorial Park
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Progressive Era in the United States
Publishers from California
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Anti-Chinese sentiment
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Former yacht owners of New York City
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[
"Before I Speak is the debut album from Canadian singer/songwriter Kyle Riabko. The album infuses R&B style with elements of funk and soul.\n\nThe album was released a few months prior to Riabko's high school graduation. Each song on the album was written by Riabko. He played guitar and bass for the recording along with backing from former Prince drummer Michael Bland and former Grapes of Wrath keyboardist Vince Jones. Liz Phair and Robert Randolph contributed guest vocals. The album was co-produced by Riabko with Matt Wallace and Chris Burke-Gaffney, who acts as Riabko's manager.\n\nMost of the album's recording took place at Sound City in Los Angeles. The tracks \"Before I Speak\" and \"Doesn't Get Much Better\" were recorded in Riabko's bedroom at his parents' home just prior to the completion of the album. Three singles were released from the album: \"Carry On,\" \"Do You Right,\" and \"What Did I Get Myself Into.\"\n\nTrack listing\n\n \"Learn To Speak\" (Intro)\n \"Do You Right\"\n \"What Did I Get Myself Into\"\n \"Half As Much\"\n \"Miss Behavin’\"\n \"Carry On\"\n \"Chemistry Blues\" (Interlude)\n \"Before I Speak\"\n \"Waiting\"\n \"Paranoid\"\n \"Teach Me\"\n \"Chemistry\n \"Doesn’t Get Much Better\"\n \"Until Next Time\" (Outro)\n \"Good Time\"\n \"Devil\" (hidden track)\n\nExternal links\n Review of Before I Speak\n\n2005 debut albums\nKyle Riabko albums\nAlbums recorded at Sound City Studios",
"SPEAK is a Christian network which connects people to campaign and pray on issues of global justice. Through bringing change to situations of injustice SPEAK aims to share their faith in God. \nThe organisation's name comes from Proverbs 31:8-9: \"Speak up for those who cannot speak for themselves\".\n\nSPEAK combines campaigning and prayer because they believe that they make a powerful combination to bring social transformation. SPEAK believes in networking because they believe that only when acting and praying in unity can people really make a difference.\n\nSPEAK connects both individuals and groups. SPEAK groups typically meet in universities and colleges. Local groups are the main network participants, and there are now over thirty groups in the UK plus others in the United States, France, Spain, various parts of Africa and whole other networks affiliated to SPEAK in Brazil, the Netherlands and Sweden.\n\nIn the local group context SPEAK aims to combine faith and action. SPEAK seeks to share their faith in God, as well as campaign for change in where they believe that currently there is injustice, such as world trade and third world debt. SPEAK wants to be a movement that follows Jesus, as he is revealed in the Bible, in a radical way in personal discipleship, as well as striving for social transformation.\n\nAs a Christian group, SPEAK aims to base its action on the Bible. Biblical passages such as Proverbs chapter 31 verses 8-9, and Micah chapter 6 verse 8 help to define the purpose of the SPEAK network.\n\nThe SPEAK network organises an annual weekend conference known as Soundcheck, which is usually held in London during February. The SPEAK Network also organises regional forums. These events are opportunities for people in local SPEAK groups to meet up with other people involved in the SPEAK Network.\n\nReferences\n\nExternal links\nSPEAK Network\nLeeds SPEAK group\nProverbs 31:8-9\nMicah 6:8\n\nCategories\n\nChristian missions"
] |
[
"William Randolph Hearst",
"Involvement in politics",
"When did he get involved in politics?",
"He narrowly failed in attempts to become mayor of New York City in both 1905 and 1909 and governor of New York in 1906,",
"Did he attempt to run for any other offices?",
"He was defeated for the governorship by Charles Evans Hughes.",
"Did he do anything else in politics aside from running for office?",
"Hearst was on the left wing of the Progressive Movement, speaking on behalf of the working class (who bought his papers)",
"Where did he speak?",
"His newspapers"
] |
C_157aad7f67974c55b20a22f3e235e87c_0
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Was he successful in advocating for the working class?
| 5 |
Was William Randolph Hearst successful in advocating for the working class?
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William Randolph Hearst
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Hearst won two elections to Congress, then lost a series of elections. He narrowly failed in attempts to become mayor of New York City in both 1905 and 1909 and governor of New York in 1906, nominally remaining a Democrat while also creating the Independence Party. He was defeated for the governorship by Charles Evans Hughes. Hearst's unsuccessful campaigns for office after his tenure in the House of Representatives earned him the unflattering but short-lived nickname of "William 'Also-Randolph' Hearst", which was coined by Wallace Irwin. Hearst was on the left wing of the Progressive Movement, speaking on behalf of the working class (who bought his papers) and denouncing the rich and powerful (who disdained his editorials). With the support of Tammany Hall (the regular Democratic organization in Manhattan), he was elected to Congress in 1902 and 1904. He ran for the Democratic nomination for president in 1904, losing to a conservative New York judge, Alton B. Parker. Breaking with Tammany in 1907, Hearst ran for mayor of New York City under a third party of his own creation, the Municipal Ownership League). Tammany Hall exerted its utmost to defeat him. An opponent of the British Empire, Hearst opposed American involvement in the First World War and attacked the formation of the League of Nations. His newspapers abstained from endorsing any candidate in 1920 and 1924. Hearst's last bid for office came in 1922 when he was backed by Tammany Hall leaders for the U.S. Senate nomination in New York. Al Smith vetoed this, earning the lasting enmity of Hearst. Although Hearst shared Smith's opposition to Prohibition, he swung his papers behind Herbert Hoover in the 1928 presidential election. Hearst's support for Franklin D. Roosevelt at the 1932 Democratic National Convention, via his allies William Gibbs McAdoo and John Nance Garner, can also be seen as part of his vendetta against Smith, who was an opponent of Roosevelt's at that convention. CANNOTANSWER
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he was elected to Congress in 1902 and 1904.
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William Randolph Hearst Sr. (; April 29, 1863 – August 14, 1951) was an American businessman, newspaper publisher, and politician known for developing the nation's largest newspaper chain and media company, Hearst Communications. His flamboyant methods of yellow journalism influenced the nation's popular media by emphasizing sensationalism and human interest stories. Hearst entered the publishing business in 1887 with Mitchell Trubitt after being given control of The San Francisco Examiner by his wealthy father, Senator George Hearst.
After moving to New York City, Hearst acquired the New York Journal and fought a bitter circulation war with Joseph Pulitzer's New York World. Hearst sold papers by printing giant headlines over lurid stories featuring crime, corruption, sex, and innuendo. Hearst acquired more newspapers and created a chain that numbered nearly 30 papers in major American cities at its peak. He later expanded to magazines, creating the largest newspaper and magazine business in the world. Hearst controlled the editorial positions and coverage of political news in all his papers and magazines, and thereby often published his personal views. He sensationalized Spanish atrocities in Cuba while calling for war in 1898 against Spain. Historians, however, reject his subsequent claims to have started the war with Spain as overly extravagant.
He was twice elected as a Democrat to the U.S. House of Representatives. He ran unsuccessfully for President of the United States in 1904, Mayor of New York City in 1905 and 1909, and for Governor of New York in 1906. During his political career, he espoused views generally associated with the left wing of the Progressive Movement, claiming to speak on behalf of the working class.
After 1918 and the end of World War I, Hearst gradually began adopting more conservative views and started promoting an isolationist foreign policy to avoid any more entanglement in what he regarded as corrupt European affairs. He was at once a militant nationalist, a fierce anti-communist after the Russian Revolution, and deeply suspicious of the League of Nations and of the British, French, Japanese, and Russians. He was a leading supporter of Franklin D. Roosevelt in 1932–1934, but then broke with FDR and became his most prominent enemy on the right. Hearst's empire reached a peak circulation of 20 million readers a day in the mid-1930s. He was a bad manager of finances and so deeply in debt during the Great Depression that most of his assets had to be liquidated in the late 1930s. Hearst managed to keep his newspapers and magazines.
His life story was the main inspiration for Charles Foster Kane, the lead character in Orson Welles's film Citizen Kane (1941). His Hearst Castle, constructed on a hill overlooking the Pacific Ocean near San Simeon, has been preserved as a State Historical Monument and is designated as a National Historic Landmark.
Ancestry and early life
William R. Hearst was born in San Francisco to George Hearst, a millionaire mining engineer, owner of gold and other mines through his corporation, and his much younger wife Phoebe Apperson Hearst, from a small town in Missouri. The elder Hearst later entered politics, and served as a US Senator, first appointed for a brief period in 1886, then elected later that year. He served from 1887 to his death in 1891.
His paternal great-grandfather was John Hearst of Ulster Protestant origin. John Hearst, with his wife and six children, migrated to America from Ballybay, County Monaghan, Ireland, as part of the Cahans Exodus in 1766, and settled in South Carolina. Their immigration to South Carolina was spurred in part by the colonial government's policy that encouraged the immigration of Irish Protestants, many of Scots origin. The names "John Hearse" and "John Hearse Jr." appear on the council records of October 26, 1766, being credited with meriting of land on the Long Canes (in what became Abbeville District), based upon to heads of household and for each dependent of a Protestant immigrant. The "Hearse" spelling of the family name never was used afterward by the family members themselves, or any family of any size. A separate theory purports that one branch of a "Hurst" family of Virginia (originally from Plymouth Colony) moved to South Carolina at about the same time and changed the spelling of its surname of over a century to that of the immigrant Hearsts. Hearst's mother, née Phoebe Elizabeth Apperson, was also of Scots-Irish ancestry; her family came from Galway. She was appointed as the first woman regent of University of California, Berkeley, donated funds to establish libraries at several universities, funded many anthropological expeditions, and founded the Phoebe A. Hearst Museum of Anthropology.
Hearst attended prep school at St. Paul's School in Concord, New Hampshire. He enrolled in the Harvard College class of 1885. While there he was a member of Delta Kappa Epsilon, the A.D. Club (a Harvard Final club), the Hasty Pudding Theatricals, and of the Lampoon before being expelled. His antics had ranged from sponsoring massive beer parties in Harvard Square to sending pudding pots used as chamber pots to his professors (their images were depicted within the bowls).
Publishing business
Searching for an occupation, in 1887 Hearst took over management of his father's newspaper, the San Francisco Examiner, which his father had acquired in 1880 as repayment for a gambling debt. Giving his paper the grand motto "Monarch of the Dailies", Hearst acquired the best equipment and the most talented writers of the time, including Ambrose Bierce, Mark Twain, Jack London, and political cartoonist Homer Davenport. A self-proclaimed populist, Hearst reported accounts of municipal and financial corruption, often attacking companies in which his own family held an interest. Within a few years, his paper dominated the San Francisco market.
New York Morning Journal
Early in his career at the San Francisco Examiner, Hearst envisioned running a large newspaper chain, and "always knew that his dream of a nation-spanning, multi-paper news operation was impossible without a triumph in New York". In 1895, with the financial support of his widowed mother (his father had died in 1891), Hearst bought the failing New York Morning Journal, hiring writers such as Stephen Crane and Julian Hawthorne, and entering into a head-to-head circulation war with Joseph Pulitzer, owner and publisher of the New York World. Hearst "stole" Richard F. Outcault, the creator of color comics, and all of Pulitzer's Sunday staff as well. Another prominent hire was James J. Montague, who came from the Portland Oregonian and started his well-known "More Truth Than Poetry" column at the Hearst-owned New York Evening Journal.
When Hearst purchased the "penny paper", so called because its copies sold for a penny apiece, the Journal was competing with New York's 16 other major dailies. It had a strong focus on Democratic Party politics. Hearst imported his best managers from the San Francisco Examiner and "quickly established himself as the most attractive employer" among New York newspapers. He was generous, paid more than his competitors, gave credit to his writers with page-one bylines, and was unfailingly polite, unassuming, "impeccably calm", and indulgent of "prima donnas, eccentrics, bohemians, drunks, or reprobates so long as they had useful talents".
Hearst's activist approach to journalism can be summarized by the motto, "While others Talk, the Journal Acts."
Yellow journalism and rivalry with the New York World
The New York Journal and its chief rival, the New York World, mastered a style of popular journalism that came to be derided as "yellow journalism", after Outcault's Yellow Kid comic. Pulitzer's World had pushed the boundaries of mass appeal for newspapers through bold headlines, aggressive news gathering, generous use of cartoons and illustrations, populist politics, progressive crusades, an exuberant public spirit, and dramatic crime and human-interest stories. Hearst's Journal used the same recipe for success, forcing Pulitzer to drop the price of the World from two cents to a penny. Soon the two papers were locked in a fierce, often spiteful competition for readers in which both papers spent large sums of money and saw huge gains in circulation.
Within a few months of purchasing the Journal, Hearst hired away Pulitzer's three top editors: Sunday editor Morrill Goddard, who greatly expanded the scope and appeal of the American Sunday newspaper; Solomon Carvalho, and a young Arthur Brisbane, who became managing editor of the Hearst newspaper empire, and a legendary columnist. Contrary to popular assumption, they were not lured away by higher pay—rather, each man had grown tired of the temperamental, domineering Pulitzer and the paranoid, back-biting office politics which he encouraged.
While Hearst's many critics attribute the Journals incredible success to cheap sensationalism, Kenneth Whyte noted in The Uncrowned King: The Sensational Rise Of William Randolph Hearst: "Rather than racing to the bottom, he [Hearst] drove the Journal and the penny press upmarket. The Journal was a demanding, sophisticated paper by contemporary standards." Though yellow journalism would be much maligned, Whyte said, "All good yellow journalists ... sought the human in every story and edited without fear of emotion or drama. They wore their feelings on their pages, believing it was an honest and wholesome way to communicate with readers", but, as Whyte pointed out: "This appeal to feelings is not an end in itself... [they believed] our emotions tend to ignite our intellects: a story catering to a reader's feelings is more likely than a dry treatise to stimulate thought."
The two papers finally declared a truce in late 1898, after both lost vast amounts of money covering the Spanish–American War. Hearst probably lost several million dollars in his first three years as publisher of the Journal (figures are impossible to verify) but the paper began turning a profit after it ended its fight with the World.
Under Hearst, the Journal remained loyal to the populist or left wing of the Democratic Party. It was the only major publication in the East to support William Jennings Bryan in 1896. Its coverage of that election was probably the most important of any newspaper in the country, attacking relentlessly the unprecedented role of money in the Republican campaign and the dominating role played by William McKinley's political and financial manager, Mark Hanna, the first national party 'boss' in American history. A year after taking over the paper, Hearst could boast that sales of the Journal's post-election issue (including the evening and German-language editions) topped 1.5 million, a record "unparalleled in the history of the world."
The Journal's political coverage, however, was not entirely one-sided. Kenneth Whyte says that most editors of the time "believed their papers should speak with one voice on political matters"; by contrast, in New York, Hearst "helped to usher in the multi-perspective approach we identify with the modern op-ed page". At first he supported the Russian Revolution of 1917 but later he turned against it. Hearst fought hard against Wilsonian internationalism, the League of Nations, and the World Court, thereby appealing to an isolationist audience.
Spanish–American War
The Morning Journal's daily circulation routinely climbed above the 1 million mark after the sinking of the and U.S. entry into the Spanish–American War, a war that some called The Journals War, due to the paper's immense influence in provoking American outrage against Spain. Much of the coverage leading up to the war, beginning with the outbreak of the Cuban Revolution in 1895, was tainted by rumor, propaganda, and sensationalism, with the "yellow" papers regarded as the worst offenders. The Journal and other New York newspapers were so one-sided and full of errors in their reporting that coverage of the Cuban crisis and the ensuing Spanish–American War is often cited as one of the most significant milestones in the rise of yellow journalism's hold over the mainstream media. Huge headlines in the Journal assigned blame for the Maine's destruction on sabotage, which was based on no evidence. This reporting stoked outrage and indignation against Spain among the paper's readers in New York.
The Journal's crusade against Spanish rule in Cuba was not due to mere jingoism, although "the democratic ideals and humanitarianism that inspired their coverage are largely lost to history," as are their "heroic efforts to find the truth on the island under unusually difficult circumstances." The Journal's journalistic activism in support of the Cuban rebels, rather, was centered around Hearst's political and business ambitions.
Perhaps the best known myth in American journalism is the claim, without any contemporary evidence, that the illustrator Frederic Remington, sent by Hearst to Cuba to cover the Cuban War of Independence, cabled Hearst to tell him all was quiet in Cuba. Hearst, in this canard, is said to have responded, "Please remain. You furnish the pictures and I'll furnish the war."
Hearst was personally dedicated to the cause of the Cuban rebels, and the Journal did some of the most important and courageous reporting on the conflict—as well as some of the most sensationalized. Their stories on the Cuban rebellion and Spain's atrocities on the island—many of which turned out to be untrue—were motivated primarily by Hearst's outrage at Spain's brutal policies on the island. These had resulted in the deaths of hundreds of thousands of innocent Cubans. The most well-known story involved the imprisonment and escape of Cuban prisoner Evangelina Cisneros.
While Hearst and the yellow press did not directly cause America's war with Spain, they inflamed public opinion in New York City to a fever pitch. New York's elites read other papers, such as the Times and Sun, which were far more restrained. The Journal and the World were local papers oriented to a very large working class audience in New York City. They were not among the top ten sources of news in papers in other cities, and their stories did not make a splash outside New York City. Outrage across the country came from evidence of what Spain was doing in Cuba, a major influence in the decision by Congress to declare war.
According to a 21st-century historian, war was declared by Congress because public opinion was sickened by the bloodshed, and because leaders like McKinley realized that Spain had lost control of Cuba. These factors weighed more on the president's mind than the melodramas in the New York Journal.
Hearst sailed to Cuba with a small army of Journal reporters to cover the Spanish–American War; they brought along portable printing equipment, which was used to print a single-edition newspaper in Cuba after the fighting had ended. Two of the Journal's correspondents, James Creelman and Edward Marshall, were wounded in the fighting. A leader of the Cuban rebels, Gen. Calixto García, gave Hearst a Cuban flag that had been riddled with bullets as a gift, in appreciation of Hearst's major role in Cuba's liberation.
Expansion
In part to aid in his political ambitions, Hearst opened newspapers in other cities, among them Chicago, Los Angeles and Boston. In 1915, he founded International Film Service, an animation studio designed to exploit the popularity of the comic strips he controlled. The creation of his Chicago paper was requested by the Democratic National Committee. Hearst used this as an excuse for his mother Phoebe Hearst to transfer him the necessary start-up funds. By the mid-1920s he had a nationwide string of 28 newspapers, among them the Los Angeles Examiner, the Boston American, the Atlanta Georgian, the Chicago Examiner, the Detroit Times, the Seattle Post-Intelligencer, the Washington Times, the Washington Herald, and his flagship, the San Francisco Examiner.
Hearst also diversified his publishing interests into book publishing and magazines. Several of the latter are still in circulation, including such periodicals as Cosmopolitan, Good Housekeeping, Town and Country, and Harper's Bazaar.
In 1924, Hearst opened the New York Daily Mirror, a racy tabloid frankly imitating the New York Daily News. Among his other holdings were two news services, Universal News and International News Service, or INS, the latter of which he founded in 1909. He also owned INS companion radio station WINS in New York; King Features Syndicate, which still owns the copyrights of a number of popular comics characters; a film company, Cosmopolitan Productions; extensive New York City real estate; and thousands of acres of land in California and Mexico, along with timber and mining interests inherited from his father.
Hearst promoted writers and cartoonists despite the lack of any apparent demand for them by his readers. The press critic A. J. Liebling reminds us how many of Hearst's stars would not have been deemed employable elsewhere. One Hearst favorite, George Herriman, was the inventor of the dizzy comic strip Krazy Kat. Not especially popular with either readers or editors when it was first published, in the 21st century, it is considered a classic, a belief once held only by Hearst himself.
In 1929, he became one of the sponsors of the first round-the-world voyage in an airship, the LZ 127 Graf Zeppelin from Germany. His sponsorship was conditional on the trip starting at Lakehurst Naval Air Station, New Jersey. The ship's captain, Dr. Hugo Eckener, first flew the Graf Zeppelin across the Atlantic from Germany to pick up Hearst's photographer and at least three Hearst correspondents. One of them, Grace Marguerite Hay Drummond-Hay, by that flight became the first woman to travel around the world by air.
The Hearst news empire reached a revenue peak about 1928, but the economic collapse of the Great Depression in the United States and the vast over-extension of his empire cost him control of his holdings. It is unlikely that the newspapers ever paid their own way; mining, ranching and forestry provided whatever dividends the Hearst Corporation paid out. When the collapse came, all Hearst properties were hit hard, but none more so than the papers. Hearst's conservative politics, increasingly at odds with those of his readers, worsened matters for the once great Hearst media chain. Having been refused the right to sell another round of bonds to unsuspecting investors, the shaky empire tottered. Unable to service its existing debts, Hearst Corporation faced a court-mandated reorganization in 1937.
From that point, Hearst was reduced to being an employee, subject to the directives of an outside manager. Newspapers and other properties were liquidated, the film company shut down; there was even a well-publicized sale of art and antiquities. While World War II restored circulation and advertising revenues, his great days were over. The Hearst Corporation continues to this day as a large, privately held media conglomerate based in New York City.
Involvement in politics
Hearst won two elections to Congress, then lost a series of elections. He narrowly failed in attempts to become mayor of New York City in both 1905 and 1909 and governor of New York in 1906, nominally remaining a Democrat while also creating the Independence Party. He was defeated for the governorship by Charles Evans Hughes. Hearst's unsuccessful campaigns for office after his tenure in the House of Representatives earned him the unflattering but short-lived nickname of "William 'Also-Randolph' Hearst", which was coined by Wallace Irwin.
Hearst was on the left wing of the Progressive Movement, speaking on behalf of the working class (who bought his papers) and denouncing the rich and powerful (who disdained his editorials). With the support of Tammany Hall (the regular Democratic organization in Manhattan), Hearst was elected to Congress from New York in 1902 and 1904. He made a major effort to win the 1904 Democratic nomination for president, losing to conservative Alton B. Parker. Breaking with Tammany in 1907, Hearst ran for mayor of New York City under a third party of his own creation, the Municipal Ownership League. Tammany Hall exerted its utmost to defeat him.
An opponent of the British Empire, Hearst opposed American involvement in the First World War and attacked the formation of the League of Nations. His newspapers abstained from endorsing any candidate in 1920 and 1924. Hearst's last bid for office came in 1922, when he was backed by Tammany Hall leaders for the U.S. Senate nomination in New York. Al Smith vetoed this, earning the lasting enmity of Hearst. Although Hearst shared Smith's opposition to Prohibition, he swung his papers behind Herbert Hoover in the 1928 presidential election. Hearst's support for Franklin D. Roosevelt at the 1932 Democratic National Convention, via his allies William Gibbs McAdoo and John Nance Garner, can also be seen as part of his vendetta against Smith, who was an opponent of Roosevelt's at that convention.
Move to the right
During the 1920s Hearst was a Jeffersonian Democrat. He warned citizens against the dangers of big government and against unchecked federal power that could infringe on individual rights. Hearst supported FDR in 1932, but then became critical of the New Deal. More and more often, Hearst newspapers supported business over organized labor and condemned higher income tax legislation.
Hearst broke with FDR in spring 1935 when the president vetoed the Patman Bonus Bill for veterans and tried to enter the World Court. Hearst's papers were his weapon. They carried the publisher's rambling, vitriolic, all-capital-letters editorials, but he no longer employed the energetic reporters, editors, and columnists who might have made a serious attack. He reached 20 million readers in the mid-1930s, but they included much of the working class which Roosevelt had attracted by three-to-one margins in the 1936 election. The Hearst papers—like most major chains—had supported the Republican Alf Landon that year.
While campaigning against Roosevelt's policy of developing formal diplomatic relations with the Soviet Union, in 1935 Hearst ordered his editors to reprint eyewitness accounts of the Ukrainian famine (the Holdomor). These had been supplied in 1933 by Welsh freelance journalist Gareth Jones, and by the disillusioned American Communist Fred Beal. The New York Times, content with what it has since conceded was "tendentious" reporting of Soviet achievements, printed the blanket denials of its Pulitzer Prize-winning Moscow correspondent Walter Duranty. Duranty, who was widely credited with facilitating the rapprochement with Moscow, dismissed the Hearst-circulated reports of made-made starvation as a politically-motivated "scare story".
In the articles, written by Thomas Walker, to better serve Hearst 's editorial line against Roosevelt's Soviet policy the famine was "updated"; placed in 1934 rather than 1932-1933. In The Nation, Louis Fischer accused Walker of pure invention. Fischer had been to the Ukraine in 1934 and had seen no famine. He interpreted the whole affair as merely an attempt by Hearst to "spoil Soviet-American relations" as part of "an anti-red campaign".
In 1934, after checking with Jewish leaders to ensure a visit would be to their benefit, Hearst visited Berlin to interview Adolf Hitler. When Hitler asked why he was so misunderstood by the American press, Hearst retorted: "Because Americans believe in democracy, and are averse to dictatorship." Hearst's papers ran columns without rebuttal by Nazi leader Hermann Göring and Hitler himself, as well as Mussolini and other dictators in Europe and Latin America. During that same year 1934, Japan / U.S. relations were unstable. In an attempt to remedy this, Prince Tokugawa Iesato traveled throughout the United States on a goodwill visit. During his visit, Prince Iesato and his delegation met with William Randolph Hearst with the hope of improving mutual understanding between the two nations.
Personal life
Millicent Willson
In 1903, Hearst married Millicent Veronica Willson (1882–1974), a 21-year-old chorus girl, in New York City. Evidence in Louis Pizzitola's book, Hearst Over Hollywood, indicates that Millicent's mother Hannah Willson ran a Tammany-connected and protected brothel near the headquarters of political power in New York City at the turn of the 20th century. Millicent bore him five sons: George Randolph Hearst, born on April 23, 1904; William Randolph Hearst Jr., born on January 27, 1908; John Randolph Hearst, born in 1910; and twins Randolph Apperson Hearst and David Whitmire (né Elbert Willson) Hearst, born on December 2, 1915.
Marion Davies
Conceding an end to his political hopes, Hearst became involved in an affair with the film actress and comedian Marion Davies (1897–1961), former mistress of his friend Paul Block. From about 1919, he lived openly with her in California. After the death of Patricia Lake (1919/1923–1993), who had been presented as Davies's "niece," her family confirmed that she was Davies's and Hearst's daughter. She had acknowledged this before her death.
Millicent separated from Hearst in the mid-1920s after tiring of his longtime affair with Davies, but the couple remained legally married until Hearst's death. Millicent built an independent life for herself in New York City as a leading philanthropist. She was active in society and in 1921 created the Free Milk Fund for the poor.
California properties
Beginning in 1919, Hearst began to build Hearst Castle, which he never completed, on a ranch at San Simeon, California, which he had inherited from his father. He furnished the mansion with art, antiques, and entire historic rooms purchased and brought from the great houses of Europe. He established an Arabian horse breeding operation on the grounds.
Hearst also had a property on the McCloud River in Siskiyou County, in far northern California, called Wyntoon. The buildings at Wyntoon were designed by architect Julia Morgan, who also designed Hearst Castle and worked in collaboration with William J. Dodd on a number of other projects.
In 1947, Hearst paid $120,000 for an H-shaped Beverly Hills mansion, (located at 1011 N. Beverly Dr.), on 3.7 acres three blocks from Sunset Boulevard. The Beverly House, as it has come to be known, has some cinematic connections. According to Hearst Over Hollywood, John and Jacqueline Kennedy stayed at the house for part of their honeymoon. The house appeared in the film The Godfather (1972).
In the early 1890s, Hearst began building a mansion on the hills overlooking Pleasanton, California, on land purchased by his father a decade earlier. Hearst's mother took over the project, hired Julia Morgan to finish it as her home, and named it Hacienda del Pozo de Verona. After her death, it was acquired by Castlewood Country Club, which used it as their clubhouse from 1925 to 1969, when it was destroyed in a major fire.
Art collection
Hearst was renowned for his extensive collection of international art that spanned centuries. Most notable in his collection were his Greek vases, Spanish and Italian furniture, Oriental carpets, Renaissance vestments, an extensive library with many books signed by their authors, and paintings and statues. In addition to collecting pieces of fine art, he also gathered manuscripts, rare books, and autographs. His guests included varied celebrities and politicians, who stayed in rooms furnished with pieces of antique furniture and decorated with artwork by famous artists.
Beginning in 1937, Hearst began selling some of his art collection to help relieve the debt burden he had suffered from the Depression. The first year he sold items for a total of $11 million. In 1941 he put about 20,000 items up for sale; these were evidence of his wide and varied tastes. Included in the sale items were paintings by van Dyke, crosiers, chalices, Charles Dickens's sideboard, pulpits, stained glass, arms and armor, George Washington's waistcoat, and Thomas Jefferson's Bible. When Hearst Castle was donated to the State of California, it was still sufficiently furnished for the whole house to be considered and operated as a museum.
St Donat's Castle
After seeing photographs, in Country Life Magazine, of St. Donat's Castle in Vale of Glamorgan, Wales, Hearst bought and renovated it in 1925 as a gift to Davies. The Castle was restored by Hearst, who spent a fortune buying entire rooms from other castles and palaces across the UK and Europe. The Great Hall was bought from the Bradenstoke Priory in Wiltshire and reconstructed brick by brick in its current site at St. Donat's. From the Bradenstoke Priory, he also bought and removed the guest house, Prior's lodging, and great tithe barn; of these, some of the materials became the St. Donat's banqueting hall, complete with a sixteenth-century French chimney-piece and windows; also used were a fireplace dated to c. 1514 and a fourteenth-century roof, which became part of the Bradenstoke Hall, despite this use being questioned in Parliament. Hearst built 34 green and white marble bathrooms for the many guest suites in the castle and completed a series of terraced gardens which survive intact today. Hearst and Davies spent much of their time entertaining, and held a number of lavish parties attended by guests including Charlie Chaplin, Douglas Fairbanks, Winston Churchill, and a young John F. Kennedy. When Hearst died, the castle was purchased by Antonin Besse II and donated to Atlantic College, an international boarding school founded by Kurt Hahn in 1962, which still uses it.
Interest in aviation
Hearst was particularly interested in the newly emerging technologies relating to aviation and had his first experience of flight in January 1910, in Los Angeles. Louis Paulhan, a French aviator, took him for an air trip on his Farman biplane. Hearst also sponsored Old Glory as well as the Hearst Transcontinental Prize.
Financial disaster
Hearst's crusade against Roosevelt and the New Deal, combined with union strikes and boycotts of his properties, undermined the financial strength of his empire. Circulation of his major publications declined in the mid-1930s, while rivals such as the New York Daily News were flourishing. He refused to take effective cost-cutting measures, and instead increased his very expensive art purchases. His friend Joseph P. Kennedy offered to buy the magazines, but Hearst jealously guarded his empire and refused. Instead, he sold some of his heavily mortgaged real estate. San Simeon itself was mortgaged to Los Angeles Times owner Harry Chandler in 1933 for $600,000.
Finally his financial advisors realized he was tens of millions of dollars in debt, and could not pay the interest on the loans, let alone reduce the principal. The proposed bond sale failed to attract investors, as Hearst's financial crisis became widely known. As Marion Davies's stardom waned, Hearst's movies also began to hemorrhage money. As the crisis deepened, he let go of most of his household staff, sold his exotic animals to the Los Angeles Zoo, and named a trustee to control his finances. He still refused to sell his beloved newspapers. At one point, to avoid outright bankruptcy, he had to accept a $1 million loan from Marion Davies, who sold all her jewelry, stocks and bonds to raise the cash for him. Davies also managed to raise him another million as a loan from Washington Herald owner Cissy Patterson. The trustee cut Hearst's annual salary to $500,000, and stopped the annual payment of $700,000 in dividends. He had to pay rent for living in his castle at San Simeon.
Legally Hearst avoided bankruptcy, although the public generally saw it as such as appraisers went through the tapestries, paintings, furniture, silver, pottery, buildings, autographs, jewelry, and other collectibles. Items in the thousands were gathered from a five-story warehouse in New York, warehouses near San Simeon containing large amounts of Greek sculpture and ceramics, and the contents of St. Donat's. His collections were sold off in a series of auctions and private sales in 1938–39. John D. Rockefeller, Junior, bought $100,000 of antique silver for his new museum at Colonial Williamsburg. The market for art and antiques had not recovered from the depression, so Hearst made an overall loss of hundreds of thousands of dollars. During this time, Hearst's friend George Loorz commented sarcastically: "He would like to start work on the outside pool [at San Simeon], start a new reservoir etc. but told me yesterday 'I want so many things but haven't got the money.' Poor fellow, let's take up a collection."
He was embarrassed in early 1939 when Time magazine published a feature which revealed he was at risk of defaulting on his mortgage for San Simeon and losing it to his creditor and publishing rival, Harry Chandler. This, however, was averted, as Chandler agreed to extend the repayment.
Final years and death
After the disastrous financial losses of the 1930s, the Hearst Company returned to profitability during the Second World War, when advertising revenues skyrocketed. Hearst, after spending much of the war at his estate of Wyntoon, returned to San Simeon full-time in 1945 and resumed building works. He also continued collecting, on a reduced scale. He threw himself into philanthropy by donating a great many works to the Los Angeles County Museum of Art.
In 1947, Hearst left his San Simeon estate to seek medical care, which was unavailable in the remote location. He died in Beverly Hills on August 14, 1951, at the age of 88. He was interred in the Hearst family mausoleum at the Cypress Lawn Cemetery in Colma, California, which his parents had established.
His will established two charitable trusts, the Hearst Foundation and the William Randolph Hearst Foundation. By his amended will, Marion Davies inherited 170,000 shares in the Hearst Corporation, which, combined with a trust fund of 30,000 shares that Hearst had established for her in 1950, gave her a controlling interest in the corporation. This was short-lived, as she relinquished the 170,000 shares to the Corporation on October 30, 1951, retaining her original 30,000 shares and a role as an advisor. Like their father, none of Hearst's five sons graduated from college. They all followed their father into the media business, and Hearst's namesake, William Randolph, Jr., became a Pulitzer Prize–winning newspaper reporter.
Criticism
In the 1890s, the already existing anti-Chinese and anti-Asian racism in San Francisco were further fanned by Hearst's anti-non-European descents, which were reflected in the rhetoric and the focus in The Examiner and one of his own signed editorials. These prejudices continued to be the mainstays throughout his journalistic career to galvanize his readers’ fears. Hearst staunchly supported the Japanese-American internment during WWII and used his media power to demonize Japanese-Americans and to drum up support for the internment of Japanese-Americans.
Some media outlets have attempted to bring attention to Hearst's involvement in the prohibition of cannabis in America. Hearst collaborated with Harry J. Anslinger to ban hemp due to the threat that the burgeoning hemp paper industry posed to his major investment and market share in the paper milling industry. This partnership to market propaganda against cannabis also created an immeasurable, long-lasting negative impact on global socioeconomics. Due to their efforts, hemp would remain illegal to grow in the US for almost a century, not being legalized until 2018.
As Martin Lee and Norman Solomon noted in their 1990 book Unreliable Sources, Hearst "routinely invented sensational stories, faked interviews, ran phony pictures and distorted real events". This approach discredited "yellow journalism".
Hearst's use of yellow journalism techniques in his New York Journal to whip up popular support for U.S. military adventurism in Cuba, Puerto Rico and the Philippines in 1898 was also criticized in Upton Sinclair's 1919 book, The Brass Check: A Study of American Journalism. According to Sinclair, Hearst's newspapers distorted world events and deliberately tried to discredit Socialists. Another critic, Ferdinand Lundberg, extended the criticism in Imperial Hearst (1936), charging that Hearst papers accepted payments from abroad to slant the news. After the war, a further critic, George Seldes, repeated the charges in Facts and Fascism (1947). Lundberg described Hearst "the weakest strong man and the strongest weak man in the world today... a giant with feet of clay."
In fiction
Citizen Kane
The film Citizen Kane (released on May 1, 1941) is loosely based on Hearst's life. Welles and his collaborator, screenwriter Herman J. Mankiewicz, created Kane as a composite character, among them Harold Fowler McCormick, Samuel Insull and Howard Hughes. Hearst, enraged at the idea of Citizen Kane being a thinly disguised and very unflattering portrait of him, used his massive influence and resources to prevent the film from being released—all without even having seen it. Welles and the studio RKO Pictures resisted the pressure but Hearst and his Hollywood friends ultimately succeeded in pressuring theater chains to limit showings of Citizen Kane, resulting in only moderate box-office numbers and seriously impairing Welles's career prospects. The fight over the film was documented in the Academy Award-nominated documentary, The Battle Over Citizen Kane, and nearly 60 years later, HBO offered a fictionalized version of Hearst's efforts in its original production RKO 281 (1999), in which James Cromwell portrays Hearst. Citizen Kane has twice been ranked No. 1 on AFI's 100 Years...100 Movies: in 1998 and 2007. In 2020, David Fincher directed Mank, starring Gary Oldman as Herman J. Mankiewicz, as he interacts with Hearst prior to the writing of Citizen Kane'''s screenplay. Charles Dance portrays Hearst in the film.
Other works
Films
In the television film Rough Riders (1997), Hearst (played by George Hamilton) is depicted as travelling to Cuba with a small band of journalists, to personally cover the Spanish–American War.
Hearst is mentioned in the Disney movie Newsies (1992), directed by Kenny Ortega, which depicts the Newsboys' Strike of 1899. Hearst is never seen onscreen but is referenced by several of the newsies in various musical numbers, and is portrayed as an antagonist engaged in a bitter circulation war with Joseph Pulitzer.
In the HBO movie Winchell (1998), Kevin Tighe played Hearst.
In RKO 281 He was played by James Cromwell.
The Cat's Meow (2001), a fictitious version of the death of Thomas H. Ince, takes place in November 1924, on a weekend cruise aboard publisher William Randolph Hearst's yacht, celebrating Ince's 44th birthday. The film's fictionalizes Ince's death by suggesting that Hearst shot Ince and covered it up. Hearst is portrayed by Edward Herrmann. (Ince actually became severely ill aboard Hearst's private yacht, and the official cause of the filmmaker's death was heart failure.)
He is portrayed by Matthew Marsh in Agnieszka Holland's 2019 film, Mr Jones.
He is portrayed by Charles Dance in David Fincher's 2020 film, Mank.
Literature
John Dos Passos's novel The Big Money (1936) includes a biographical sketch of Hearst.
Jack London's futuristic, dystopian novel of 1907, The Iron Heel, refers to Hearst by name; and the plot "predicts" the destruction of his publishing empire (along with the Democratic Party) in 1912, by means of an oligarchy of plutocrats and industrial trusts engineering the cessation of his advertising revenue.
In Ayn Rand's novel The Fountainhead (1943) and its eponymous 1949 film adaptation), the character Gail Wynand, a newspaper magnate who thinks he can control public sentiment but in reality is only a servant of the masses, is inspired by and modeled after the life of William Randolph Hearst.
In John Steinbeck's novel The Grapes of Wrath (1939), Hearst is anonymously described as the "newspaper fella near the coast" who "got a million acres" and looks "crazy an' mean" in pictures (ch. 18).
In Gore Vidal's historic novel series, Narratives of Empire, Hearst is a major character.
Scott Westerfeld's novel Goliath (2011) depicts Hearst in World War I.
In Charlaine Harris' The Russian Cage (2021) Hearst was the ruler of the HRE (formerly west coast states of US) who permitted the tsar and his entourage to settle in the defunct Navy base at San Diego.
Television
The rivalry between Hearst and Joseph Pulitzer has been documented on National Geographic Channel's series American Genius (2015).
In the TNT series "The Alienist", in the second season played by Matt Letscher.
In "The Paper Dynasty" (1964) episode of the syndicated Western television series, Death Valley Days, hosted by Stanley Andrews. In the story line, Hearst (played by James Hampton) struggles to turn a profit despite increased circulation of The San Francisco Examiner, featuring James Lanphier (1920–1969) as Ambrose Bierce and Robert O. Cornthwaite as Sam Chamberlain.
In "The Odyssey", a 1979 episode of the television series Little House on the Prairie, Hearst (played by Bill Ewing) is depicted as a friendly and talented young San Francisco journalist.
Hearst (portrayed by John Colton) appears in the season 2 episode "Hollywoodland" of the NBC series Timeless.
See also
Hearst Ranch
History of American newspapers
The Hacienda (Milpitas Ranchhouse)
References
Notes
Citations
Sources
Further reading
Bernhardt, Mark. "The Selling of Sex, Sleaze, Scuttlebutt, and other Shocking Sensations: The Evolution of New Journalism in San Francisco, 1887–1900." American Journalism 28#4 (2011): 111–42.
Carlisle, Rodney. "The Foreign Policy Views of an Isolationist Press Lord: W. R. Hearst & the International Crisis, 1936–41" Journal of Contemporary History (1974) 9#3 pp. 217–27.
Goldstein, Benjamin S. “‘A Legend Somewhat Larger than Life’: Karl H. von Wiegand and the Trajectory of Hearstian Sensationalist Journalism*.” Historical Research 94, no. 265 (August 1, 2021): 629–59. https://doi.org/10.1093/hisres/htab019.
Kastner, Victoria, with a foreword by Stephen T. Hearst (2013). Hearst Ranch: Family, Land and Legacy. New York: H. N. Abrams. .
Kastner, Victoria, with photographs by Victoria Garagliano (2000). Hearst Castle: The Biography of a Country House. New York: H. N. Abrams. .
Kastner, Victoria, with photographs by Victoria Garagliano (2009). Hearst's San Simeon: The Gardens and the Land. New York: H. N. Abrams. .
Landers, James. "Hearst's Magazine, 1912–1914: Muckraking Sensationalist." Journalism History 38.4 (2013): 221.
Leonard, Thomas C. "Hearst, William Randolph"; American National Biography Online (2000). Access Date: May 12, 2016
Thomas, Evan. The war lovers: Roosevelt, Lodge, Hearst, and the rush to empire, 1898 (2010).
Winkler, John K. W.R. Hearst An American Phenomenon'', Jonathan Cape, (1928)
External links
Hearst the Collector at LACMA
Zpub.com: William Randolph Hearst biography
The William Randolph Hearst Art Archive at Long Island University
Guide to the William Randolph Hearst Papers at The Bancroft Library
Hearstcastle.org: Hearst Castle at San Simeon
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Democratic Party members of the United States House of Representatives
Harvard College alumni
The Harvard Lampoon alumni
Hasty Pudding alumni
William Randolph
Land owners from California
Members of the United States House of Representatives from New York (state)
New York (state) Democrats
News agency founders
Old Right (United States)
People from Beverly Hills, California
People from San Luis Obispo County, California
People of the Spanish–American War
Philanthropists from New York (state)
Politicians from New Rochelle, New York
Philanthropists from California
Politicians from San Francisco
Progressive Era in the United States
Publishers from California
St. Paul's School (New Hampshire) alumni
United States Independence Party politicians
Anti-Chinese sentiment
Anti-Asian sentiment
Anti–East Asian sentiment
Former yacht owners of New York City
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[
"The London Working Men's Association was an organisation established in London in 1836. It was one of the foundations of Chartism, advocating for universal male suffrage, equally-populated electoral districts, the abolition of property qualifications for MPs, annual Parliaments, the payment of MPs, and the establishment of secret ballot voting. The founders were William Lovett, Francis Place and Henry Hetherington. They appealed to skilled workers rather than the mass of unskilled factory labourers. They were associated with Owenite socialism and the movement for general education.\n\nReferences\n\nExternal links\nImage of the Minute Book of the LWMA for 18 October 1836 at the British Library.\n The Address of the London Working Men's Association to the People of Canada, 1837\n The Six Points and the London Working Men's Association, on Chartist Ancestors\nFeargus O'Connor & The Chartists - UK Parliament Living Heritage\n\nChartism\nLabour in the United Kingdom\nLabor history\n19th century in London\nPolitical organisations based in London\nHistory of socialism\nSocialist parties in England\n1836 establishments in England\nWorking class in England\n1836 in London\nOwenism",
"Albert J. Risso, GMH was a Gibraltarian trade unionist and politician. He was the first president of the Association for the Advancement of Civil Rights (AACR) in Gibraltar.\n\nCareer\nAlbert Risso was one of the first political activists in the British territory of Gibraltar. at a very young age, he was one of the campaigners for the involvement of the Gibraltarian civilian population (and especially its working class) in governing the colony. In 1919, he was one of the members of a so-called \"deputation of working men\" who went to London to meet the Secretary of State for the Colonies and ask for the creation of a representative body that could succeed the Sanitary Commission, an unelected body whose members, usually belonging to the upper class, were nominated by the Governor. The campaign, driven by the trade unions, brought about the creation of the Gibraltar City Council in 1921.\n\nBy the start of World War II, Risso was a foreman mechanic and a City Council employee. When most of Gibraltar's civilian population was evacuated, Risso was one of the few Gibraltarians that remained on The Rock. In September 1942, a group of fellow Gibraltarians, clerks and workers, led by Risso came together to form the AACR, an association advocating the Gibraltarians' civil rights. Risso was president of the AACR from 1942 to 1948, when he was succeeded by former vicepresident, Joshua Hassan. In 1947, he was appointed president of the Gibraltar Confederation of Labour, a trade union created to represent the AACR's rank and file working class supporters.\n\nRisso was continuously reelected member of the Gibraltar Legislative Council during the 1950s and early 1960s, as candidate of the AACR. He was elected in 1950, 1953, 1956, 1959 and 1964. Risso stood for election for all AACR candidatures to the City Council and to the Legislative Council first, and the House of Assembly until the 1970s. He was also a member of the Constitutional Conference which drafted the Gibraltar's first constitution.\n\nHonours\nIn the 1980s, Risso was offered a decoration. However, he refused on the grounds of his egalitarian ideals.\n\nIn 2004, Risso was posthumously granted the Gibraltar Award by the Self Determination for Gibraltar Group for his contribution to Gibraltar as a civil rights activist and politician.\n\nOn 22 February 2005 the Government of Gibraltar announced that a proposed senior citizens building at Waterport in Gibraltar was to be named Albert Risso House following his enormous contribution to public life.\n\nUpon the creation of the Gibraltar Medallion of Honour in 2008, Albert Risso was posthumously awarded the Medallion and therefore was recorded in the Gibraltar Roll of Honour.\n\nReferences\n\nSources\n\nHistory of Gibraltar\nYear of death missing\nAssociation for the Advancement of Civil Rights politicians\nYear of birth missing"
] |
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"William Randolph Hearst",
"Involvement in politics",
"When did he get involved in politics?",
"He narrowly failed in attempts to become mayor of New York City in both 1905 and 1909 and governor of New York in 1906,",
"Did he attempt to run for any other offices?",
"He was defeated for the governorship by Charles Evans Hughes.",
"Did he do anything else in politics aside from running for office?",
"Hearst was on the left wing of the Progressive Movement, speaking on behalf of the working class (who bought his papers)",
"Where did he speak?",
"His newspapers",
"Was he successful in advocating for the working class?",
"he was elected to Congress in 1902 and 1904."
] |
C_157aad7f67974c55b20a22f3e235e87c_0
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Was he successful in Congress?
| 6 |
Was hWilliam Randolph Hearst successful in Congress?
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William Randolph Hearst
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Hearst won two elections to Congress, then lost a series of elections. He narrowly failed in attempts to become mayor of New York City in both 1905 and 1909 and governor of New York in 1906, nominally remaining a Democrat while also creating the Independence Party. He was defeated for the governorship by Charles Evans Hughes. Hearst's unsuccessful campaigns for office after his tenure in the House of Representatives earned him the unflattering but short-lived nickname of "William 'Also-Randolph' Hearst", which was coined by Wallace Irwin. Hearst was on the left wing of the Progressive Movement, speaking on behalf of the working class (who bought his papers) and denouncing the rich and powerful (who disdained his editorials). With the support of Tammany Hall (the regular Democratic organization in Manhattan), he was elected to Congress in 1902 and 1904. He ran for the Democratic nomination for president in 1904, losing to a conservative New York judge, Alton B. Parker. Breaking with Tammany in 1907, Hearst ran for mayor of New York City under a third party of his own creation, the Municipal Ownership League). Tammany Hall exerted its utmost to defeat him. An opponent of the British Empire, Hearst opposed American involvement in the First World War and attacked the formation of the League of Nations. His newspapers abstained from endorsing any candidate in 1920 and 1924. Hearst's last bid for office came in 1922 when he was backed by Tammany Hall leaders for the U.S. Senate nomination in New York. Al Smith vetoed this, earning the lasting enmity of Hearst. Although Hearst shared Smith's opposition to Prohibition, he swung his papers behind Herbert Hoover in the 1928 presidential election. Hearst's support for Franklin D. Roosevelt at the 1932 Democratic National Convention, via his allies William Gibbs McAdoo and John Nance Garner, can also be seen as part of his vendetta against Smith, who was an opponent of Roosevelt's at that convention. CANNOTANSWER
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CANNOTANSWER
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William Randolph Hearst Sr. (; April 29, 1863 – August 14, 1951) was an American businessman, newspaper publisher, and politician known for developing the nation's largest newspaper chain and media company, Hearst Communications. His flamboyant methods of yellow journalism influenced the nation's popular media by emphasizing sensationalism and human interest stories. Hearst entered the publishing business in 1887 with Mitchell Trubitt after being given control of The San Francisco Examiner by his wealthy father, Senator George Hearst.
After moving to New York City, Hearst acquired the New York Journal and fought a bitter circulation war with Joseph Pulitzer's New York World. Hearst sold papers by printing giant headlines over lurid stories featuring crime, corruption, sex, and innuendo. Hearst acquired more newspapers and created a chain that numbered nearly 30 papers in major American cities at its peak. He later expanded to magazines, creating the largest newspaper and magazine business in the world. Hearst controlled the editorial positions and coverage of political news in all his papers and magazines, and thereby often published his personal views. He sensationalized Spanish atrocities in Cuba while calling for war in 1898 against Spain. Historians, however, reject his subsequent claims to have started the war with Spain as overly extravagant.
He was twice elected as a Democrat to the U.S. House of Representatives. He ran unsuccessfully for President of the United States in 1904, Mayor of New York City in 1905 and 1909, and for Governor of New York in 1906. During his political career, he espoused views generally associated with the left wing of the Progressive Movement, claiming to speak on behalf of the working class.
After 1918 and the end of World War I, Hearst gradually began adopting more conservative views and started promoting an isolationist foreign policy to avoid any more entanglement in what he regarded as corrupt European affairs. He was at once a militant nationalist, a fierce anti-communist after the Russian Revolution, and deeply suspicious of the League of Nations and of the British, French, Japanese, and Russians. He was a leading supporter of Franklin D. Roosevelt in 1932–1934, but then broke with FDR and became his most prominent enemy on the right. Hearst's empire reached a peak circulation of 20 million readers a day in the mid-1930s. He was a bad manager of finances and so deeply in debt during the Great Depression that most of his assets had to be liquidated in the late 1930s. Hearst managed to keep his newspapers and magazines.
His life story was the main inspiration for Charles Foster Kane, the lead character in Orson Welles's film Citizen Kane (1941). His Hearst Castle, constructed on a hill overlooking the Pacific Ocean near San Simeon, has been preserved as a State Historical Monument and is designated as a National Historic Landmark.
Ancestry and early life
William R. Hearst was born in San Francisco to George Hearst, a millionaire mining engineer, owner of gold and other mines through his corporation, and his much younger wife Phoebe Apperson Hearst, from a small town in Missouri. The elder Hearst later entered politics, and served as a US Senator, first appointed for a brief period in 1886, then elected later that year. He served from 1887 to his death in 1891.
His paternal great-grandfather was John Hearst of Ulster Protestant origin. John Hearst, with his wife and six children, migrated to America from Ballybay, County Monaghan, Ireland, as part of the Cahans Exodus in 1766, and settled in South Carolina. Their immigration to South Carolina was spurred in part by the colonial government's policy that encouraged the immigration of Irish Protestants, many of Scots origin. The names "John Hearse" and "John Hearse Jr." appear on the council records of October 26, 1766, being credited with meriting of land on the Long Canes (in what became Abbeville District), based upon to heads of household and for each dependent of a Protestant immigrant. The "Hearse" spelling of the family name never was used afterward by the family members themselves, or any family of any size. A separate theory purports that one branch of a "Hurst" family of Virginia (originally from Plymouth Colony) moved to South Carolina at about the same time and changed the spelling of its surname of over a century to that of the immigrant Hearsts. Hearst's mother, née Phoebe Elizabeth Apperson, was also of Scots-Irish ancestry; her family came from Galway. She was appointed as the first woman regent of University of California, Berkeley, donated funds to establish libraries at several universities, funded many anthropological expeditions, and founded the Phoebe A. Hearst Museum of Anthropology.
Hearst attended prep school at St. Paul's School in Concord, New Hampshire. He enrolled in the Harvard College class of 1885. While there he was a member of Delta Kappa Epsilon, the A.D. Club (a Harvard Final club), the Hasty Pudding Theatricals, and of the Lampoon before being expelled. His antics had ranged from sponsoring massive beer parties in Harvard Square to sending pudding pots used as chamber pots to his professors (their images were depicted within the bowls).
Publishing business
Searching for an occupation, in 1887 Hearst took over management of his father's newspaper, the San Francisco Examiner, which his father had acquired in 1880 as repayment for a gambling debt. Giving his paper the grand motto "Monarch of the Dailies", Hearst acquired the best equipment and the most talented writers of the time, including Ambrose Bierce, Mark Twain, Jack London, and political cartoonist Homer Davenport. A self-proclaimed populist, Hearst reported accounts of municipal and financial corruption, often attacking companies in which his own family held an interest. Within a few years, his paper dominated the San Francisco market.
New York Morning Journal
Early in his career at the San Francisco Examiner, Hearst envisioned running a large newspaper chain, and "always knew that his dream of a nation-spanning, multi-paper news operation was impossible without a triumph in New York". In 1895, with the financial support of his widowed mother (his father had died in 1891), Hearst bought the failing New York Morning Journal, hiring writers such as Stephen Crane and Julian Hawthorne, and entering into a head-to-head circulation war with Joseph Pulitzer, owner and publisher of the New York World. Hearst "stole" Richard F. Outcault, the creator of color comics, and all of Pulitzer's Sunday staff as well. Another prominent hire was James J. Montague, who came from the Portland Oregonian and started his well-known "More Truth Than Poetry" column at the Hearst-owned New York Evening Journal.
When Hearst purchased the "penny paper", so called because its copies sold for a penny apiece, the Journal was competing with New York's 16 other major dailies. It had a strong focus on Democratic Party politics. Hearst imported his best managers from the San Francisco Examiner and "quickly established himself as the most attractive employer" among New York newspapers. He was generous, paid more than his competitors, gave credit to his writers with page-one bylines, and was unfailingly polite, unassuming, "impeccably calm", and indulgent of "prima donnas, eccentrics, bohemians, drunks, or reprobates so long as they had useful talents".
Hearst's activist approach to journalism can be summarized by the motto, "While others Talk, the Journal Acts."
Yellow journalism and rivalry with the New York World
The New York Journal and its chief rival, the New York World, mastered a style of popular journalism that came to be derided as "yellow journalism", after Outcault's Yellow Kid comic. Pulitzer's World had pushed the boundaries of mass appeal for newspapers through bold headlines, aggressive news gathering, generous use of cartoons and illustrations, populist politics, progressive crusades, an exuberant public spirit, and dramatic crime and human-interest stories. Hearst's Journal used the same recipe for success, forcing Pulitzer to drop the price of the World from two cents to a penny. Soon the two papers were locked in a fierce, often spiteful competition for readers in which both papers spent large sums of money and saw huge gains in circulation.
Within a few months of purchasing the Journal, Hearst hired away Pulitzer's three top editors: Sunday editor Morrill Goddard, who greatly expanded the scope and appeal of the American Sunday newspaper; Solomon Carvalho, and a young Arthur Brisbane, who became managing editor of the Hearst newspaper empire, and a legendary columnist. Contrary to popular assumption, they were not lured away by higher pay—rather, each man had grown tired of the temperamental, domineering Pulitzer and the paranoid, back-biting office politics which he encouraged.
While Hearst's many critics attribute the Journals incredible success to cheap sensationalism, Kenneth Whyte noted in The Uncrowned King: The Sensational Rise Of William Randolph Hearst: "Rather than racing to the bottom, he [Hearst] drove the Journal and the penny press upmarket. The Journal was a demanding, sophisticated paper by contemporary standards." Though yellow journalism would be much maligned, Whyte said, "All good yellow journalists ... sought the human in every story and edited without fear of emotion or drama. They wore their feelings on their pages, believing it was an honest and wholesome way to communicate with readers", but, as Whyte pointed out: "This appeal to feelings is not an end in itself... [they believed] our emotions tend to ignite our intellects: a story catering to a reader's feelings is more likely than a dry treatise to stimulate thought."
The two papers finally declared a truce in late 1898, after both lost vast amounts of money covering the Spanish–American War. Hearst probably lost several million dollars in his first three years as publisher of the Journal (figures are impossible to verify) but the paper began turning a profit after it ended its fight with the World.
Under Hearst, the Journal remained loyal to the populist or left wing of the Democratic Party. It was the only major publication in the East to support William Jennings Bryan in 1896. Its coverage of that election was probably the most important of any newspaper in the country, attacking relentlessly the unprecedented role of money in the Republican campaign and the dominating role played by William McKinley's political and financial manager, Mark Hanna, the first national party 'boss' in American history. A year after taking over the paper, Hearst could boast that sales of the Journal's post-election issue (including the evening and German-language editions) topped 1.5 million, a record "unparalleled in the history of the world."
The Journal's political coverage, however, was not entirely one-sided. Kenneth Whyte says that most editors of the time "believed their papers should speak with one voice on political matters"; by contrast, in New York, Hearst "helped to usher in the multi-perspective approach we identify with the modern op-ed page". At first he supported the Russian Revolution of 1917 but later he turned against it. Hearst fought hard against Wilsonian internationalism, the League of Nations, and the World Court, thereby appealing to an isolationist audience.
Spanish–American War
The Morning Journal's daily circulation routinely climbed above the 1 million mark after the sinking of the and U.S. entry into the Spanish–American War, a war that some called The Journals War, due to the paper's immense influence in provoking American outrage against Spain. Much of the coverage leading up to the war, beginning with the outbreak of the Cuban Revolution in 1895, was tainted by rumor, propaganda, and sensationalism, with the "yellow" papers regarded as the worst offenders. The Journal and other New York newspapers were so one-sided and full of errors in their reporting that coverage of the Cuban crisis and the ensuing Spanish–American War is often cited as one of the most significant milestones in the rise of yellow journalism's hold over the mainstream media. Huge headlines in the Journal assigned blame for the Maine's destruction on sabotage, which was based on no evidence. This reporting stoked outrage and indignation against Spain among the paper's readers in New York.
The Journal's crusade against Spanish rule in Cuba was not due to mere jingoism, although "the democratic ideals and humanitarianism that inspired their coverage are largely lost to history," as are their "heroic efforts to find the truth on the island under unusually difficult circumstances." The Journal's journalistic activism in support of the Cuban rebels, rather, was centered around Hearst's political and business ambitions.
Perhaps the best known myth in American journalism is the claim, without any contemporary evidence, that the illustrator Frederic Remington, sent by Hearst to Cuba to cover the Cuban War of Independence, cabled Hearst to tell him all was quiet in Cuba. Hearst, in this canard, is said to have responded, "Please remain. You furnish the pictures and I'll furnish the war."
Hearst was personally dedicated to the cause of the Cuban rebels, and the Journal did some of the most important and courageous reporting on the conflict—as well as some of the most sensationalized. Their stories on the Cuban rebellion and Spain's atrocities on the island—many of which turned out to be untrue—were motivated primarily by Hearst's outrage at Spain's brutal policies on the island. These had resulted in the deaths of hundreds of thousands of innocent Cubans. The most well-known story involved the imprisonment and escape of Cuban prisoner Evangelina Cisneros.
While Hearst and the yellow press did not directly cause America's war with Spain, they inflamed public opinion in New York City to a fever pitch. New York's elites read other papers, such as the Times and Sun, which were far more restrained. The Journal and the World were local papers oriented to a very large working class audience in New York City. They were not among the top ten sources of news in papers in other cities, and their stories did not make a splash outside New York City. Outrage across the country came from evidence of what Spain was doing in Cuba, a major influence in the decision by Congress to declare war.
According to a 21st-century historian, war was declared by Congress because public opinion was sickened by the bloodshed, and because leaders like McKinley realized that Spain had lost control of Cuba. These factors weighed more on the president's mind than the melodramas in the New York Journal.
Hearst sailed to Cuba with a small army of Journal reporters to cover the Spanish–American War; they brought along portable printing equipment, which was used to print a single-edition newspaper in Cuba after the fighting had ended. Two of the Journal's correspondents, James Creelman and Edward Marshall, were wounded in the fighting. A leader of the Cuban rebels, Gen. Calixto García, gave Hearst a Cuban flag that had been riddled with bullets as a gift, in appreciation of Hearst's major role in Cuba's liberation.
Expansion
In part to aid in his political ambitions, Hearst opened newspapers in other cities, among them Chicago, Los Angeles and Boston. In 1915, he founded International Film Service, an animation studio designed to exploit the popularity of the comic strips he controlled. The creation of his Chicago paper was requested by the Democratic National Committee. Hearst used this as an excuse for his mother Phoebe Hearst to transfer him the necessary start-up funds. By the mid-1920s he had a nationwide string of 28 newspapers, among them the Los Angeles Examiner, the Boston American, the Atlanta Georgian, the Chicago Examiner, the Detroit Times, the Seattle Post-Intelligencer, the Washington Times, the Washington Herald, and his flagship, the San Francisco Examiner.
Hearst also diversified his publishing interests into book publishing and magazines. Several of the latter are still in circulation, including such periodicals as Cosmopolitan, Good Housekeeping, Town and Country, and Harper's Bazaar.
In 1924, Hearst opened the New York Daily Mirror, a racy tabloid frankly imitating the New York Daily News. Among his other holdings were two news services, Universal News and International News Service, or INS, the latter of which he founded in 1909. He also owned INS companion radio station WINS in New York; King Features Syndicate, which still owns the copyrights of a number of popular comics characters; a film company, Cosmopolitan Productions; extensive New York City real estate; and thousands of acres of land in California and Mexico, along with timber and mining interests inherited from his father.
Hearst promoted writers and cartoonists despite the lack of any apparent demand for them by his readers. The press critic A. J. Liebling reminds us how many of Hearst's stars would not have been deemed employable elsewhere. One Hearst favorite, George Herriman, was the inventor of the dizzy comic strip Krazy Kat. Not especially popular with either readers or editors when it was first published, in the 21st century, it is considered a classic, a belief once held only by Hearst himself.
In 1929, he became one of the sponsors of the first round-the-world voyage in an airship, the LZ 127 Graf Zeppelin from Germany. His sponsorship was conditional on the trip starting at Lakehurst Naval Air Station, New Jersey. The ship's captain, Dr. Hugo Eckener, first flew the Graf Zeppelin across the Atlantic from Germany to pick up Hearst's photographer and at least three Hearst correspondents. One of them, Grace Marguerite Hay Drummond-Hay, by that flight became the first woman to travel around the world by air.
The Hearst news empire reached a revenue peak about 1928, but the economic collapse of the Great Depression in the United States and the vast over-extension of his empire cost him control of his holdings. It is unlikely that the newspapers ever paid their own way; mining, ranching and forestry provided whatever dividends the Hearst Corporation paid out. When the collapse came, all Hearst properties were hit hard, but none more so than the papers. Hearst's conservative politics, increasingly at odds with those of his readers, worsened matters for the once great Hearst media chain. Having been refused the right to sell another round of bonds to unsuspecting investors, the shaky empire tottered. Unable to service its existing debts, Hearst Corporation faced a court-mandated reorganization in 1937.
From that point, Hearst was reduced to being an employee, subject to the directives of an outside manager. Newspapers and other properties were liquidated, the film company shut down; there was even a well-publicized sale of art and antiquities. While World War II restored circulation and advertising revenues, his great days were over. The Hearst Corporation continues to this day as a large, privately held media conglomerate based in New York City.
Involvement in politics
Hearst won two elections to Congress, then lost a series of elections. He narrowly failed in attempts to become mayor of New York City in both 1905 and 1909 and governor of New York in 1906, nominally remaining a Democrat while also creating the Independence Party. He was defeated for the governorship by Charles Evans Hughes. Hearst's unsuccessful campaigns for office after his tenure in the House of Representatives earned him the unflattering but short-lived nickname of "William 'Also-Randolph' Hearst", which was coined by Wallace Irwin.
Hearst was on the left wing of the Progressive Movement, speaking on behalf of the working class (who bought his papers) and denouncing the rich and powerful (who disdained his editorials). With the support of Tammany Hall (the regular Democratic organization in Manhattan), Hearst was elected to Congress from New York in 1902 and 1904. He made a major effort to win the 1904 Democratic nomination for president, losing to conservative Alton B. Parker. Breaking with Tammany in 1907, Hearst ran for mayor of New York City under a third party of his own creation, the Municipal Ownership League. Tammany Hall exerted its utmost to defeat him.
An opponent of the British Empire, Hearst opposed American involvement in the First World War and attacked the formation of the League of Nations. His newspapers abstained from endorsing any candidate in 1920 and 1924. Hearst's last bid for office came in 1922, when he was backed by Tammany Hall leaders for the U.S. Senate nomination in New York. Al Smith vetoed this, earning the lasting enmity of Hearst. Although Hearst shared Smith's opposition to Prohibition, he swung his papers behind Herbert Hoover in the 1928 presidential election. Hearst's support for Franklin D. Roosevelt at the 1932 Democratic National Convention, via his allies William Gibbs McAdoo and John Nance Garner, can also be seen as part of his vendetta against Smith, who was an opponent of Roosevelt's at that convention.
Move to the right
During the 1920s Hearst was a Jeffersonian Democrat. He warned citizens against the dangers of big government and against unchecked federal power that could infringe on individual rights. Hearst supported FDR in 1932, but then became critical of the New Deal. More and more often, Hearst newspapers supported business over organized labor and condemned higher income tax legislation.
Hearst broke with FDR in spring 1935 when the president vetoed the Patman Bonus Bill for veterans and tried to enter the World Court. Hearst's papers were his weapon. They carried the publisher's rambling, vitriolic, all-capital-letters editorials, but he no longer employed the energetic reporters, editors, and columnists who might have made a serious attack. He reached 20 million readers in the mid-1930s, but they included much of the working class which Roosevelt had attracted by three-to-one margins in the 1936 election. The Hearst papers—like most major chains—had supported the Republican Alf Landon that year.
While campaigning against Roosevelt's policy of developing formal diplomatic relations with the Soviet Union, in 1935 Hearst ordered his editors to reprint eyewitness accounts of the Ukrainian famine (the Holdomor). These had been supplied in 1933 by Welsh freelance journalist Gareth Jones, and by the disillusioned American Communist Fred Beal. The New York Times, content with what it has since conceded was "tendentious" reporting of Soviet achievements, printed the blanket denials of its Pulitzer Prize-winning Moscow correspondent Walter Duranty. Duranty, who was widely credited with facilitating the rapprochement with Moscow, dismissed the Hearst-circulated reports of made-made starvation as a politically-motivated "scare story".
In the articles, written by Thomas Walker, to better serve Hearst 's editorial line against Roosevelt's Soviet policy the famine was "updated"; placed in 1934 rather than 1932-1933. In The Nation, Louis Fischer accused Walker of pure invention. Fischer had been to the Ukraine in 1934 and had seen no famine. He interpreted the whole affair as merely an attempt by Hearst to "spoil Soviet-American relations" as part of "an anti-red campaign".
In 1934, after checking with Jewish leaders to ensure a visit would be to their benefit, Hearst visited Berlin to interview Adolf Hitler. When Hitler asked why he was so misunderstood by the American press, Hearst retorted: "Because Americans believe in democracy, and are averse to dictatorship." Hearst's papers ran columns without rebuttal by Nazi leader Hermann Göring and Hitler himself, as well as Mussolini and other dictators in Europe and Latin America. During that same year 1934, Japan / U.S. relations were unstable. In an attempt to remedy this, Prince Tokugawa Iesato traveled throughout the United States on a goodwill visit. During his visit, Prince Iesato and his delegation met with William Randolph Hearst with the hope of improving mutual understanding between the two nations.
Personal life
Millicent Willson
In 1903, Hearst married Millicent Veronica Willson (1882–1974), a 21-year-old chorus girl, in New York City. Evidence in Louis Pizzitola's book, Hearst Over Hollywood, indicates that Millicent's mother Hannah Willson ran a Tammany-connected and protected brothel near the headquarters of political power in New York City at the turn of the 20th century. Millicent bore him five sons: George Randolph Hearst, born on April 23, 1904; William Randolph Hearst Jr., born on January 27, 1908; John Randolph Hearst, born in 1910; and twins Randolph Apperson Hearst and David Whitmire (né Elbert Willson) Hearst, born on December 2, 1915.
Marion Davies
Conceding an end to his political hopes, Hearst became involved in an affair with the film actress and comedian Marion Davies (1897–1961), former mistress of his friend Paul Block. From about 1919, he lived openly with her in California. After the death of Patricia Lake (1919/1923–1993), who had been presented as Davies's "niece," her family confirmed that she was Davies's and Hearst's daughter. She had acknowledged this before her death.
Millicent separated from Hearst in the mid-1920s after tiring of his longtime affair with Davies, but the couple remained legally married until Hearst's death. Millicent built an independent life for herself in New York City as a leading philanthropist. She was active in society and in 1921 created the Free Milk Fund for the poor.
California properties
Beginning in 1919, Hearst began to build Hearst Castle, which he never completed, on a ranch at San Simeon, California, which he had inherited from his father. He furnished the mansion with art, antiques, and entire historic rooms purchased and brought from the great houses of Europe. He established an Arabian horse breeding operation on the grounds.
Hearst also had a property on the McCloud River in Siskiyou County, in far northern California, called Wyntoon. The buildings at Wyntoon were designed by architect Julia Morgan, who also designed Hearst Castle and worked in collaboration with William J. Dodd on a number of other projects.
In 1947, Hearst paid $120,000 for an H-shaped Beverly Hills mansion, (located at 1011 N. Beverly Dr.), on 3.7 acres three blocks from Sunset Boulevard. The Beverly House, as it has come to be known, has some cinematic connections. According to Hearst Over Hollywood, John and Jacqueline Kennedy stayed at the house for part of their honeymoon. The house appeared in the film The Godfather (1972).
In the early 1890s, Hearst began building a mansion on the hills overlooking Pleasanton, California, on land purchased by his father a decade earlier. Hearst's mother took over the project, hired Julia Morgan to finish it as her home, and named it Hacienda del Pozo de Verona. After her death, it was acquired by Castlewood Country Club, which used it as their clubhouse from 1925 to 1969, when it was destroyed in a major fire.
Art collection
Hearst was renowned for his extensive collection of international art that spanned centuries. Most notable in his collection were his Greek vases, Spanish and Italian furniture, Oriental carpets, Renaissance vestments, an extensive library with many books signed by their authors, and paintings and statues. In addition to collecting pieces of fine art, he also gathered manuscripts, rare books, and autographs. His guests included varied celebrities and politicians, who stayed in rooms furnished with pieces of antique furniture and decorated with artwork by famous artists.
Beginning in 1937, Hearst began selling some of his art collection to help relieve the debt burden he had suffered from the Depression. The first year he sold items for a total of $11 million. In 1941 he put about 20,000 items up for sale; these were evidence of his wide and varied tastes. Included in the sale items were paintings by van Dyke, crosiers, chalices, Charles Dickens's sideboard, pulpits, stained glass, arms and armor, George Washington's waistcoat, and Thomas Jefferson's Bible. When Hearst Castle was donated to the State of California, it was still sufficiently furnished for the whole house to be considered and operated as a museum.
St Donat's Castle
After seeing photographs, in Country Life Magazine, of St. Donat's Castle in Vale of Glamorgan, Wales, Hearst bought and renovated it in 1925 as a gift to Davies. The Castle was restored by Hearst, who spent a fortune buying entire rooms from other castles and palaces across the UK and Europe. The Great Hall was bought from the Bradenstoke Priory in Wiltshire and reconstructed brick by brick in its current site at St. Donat's. From the Bradenstoke Priory, he also bought and removed the guest house, Prior's lodging, and great tithe barn; of these, some of the materials became the St. Donat's banqueting hall, complete with a sixteenth-century French chimney-piece and windows; also used were a fireplace dated to c. 1514 and a fourteenth-century roof, which became part of the Bradenstoke Hall, despite this use being questioned in Parliament. Hearst built 34 green and white marble bathrooms for the many guest suites in the castle and completed a series of terraced gardens which survive intact today. Hearst and Davies spent much of their time entertaining, and held a number of lavish parties attended by guests including Charlie Chaplin, Douglas Fairbanks, Winston Churchill, and a young John F. Kennedy. When Hearst died, the castle was purchased by Antonin Besse II and donated to Atlantic College, an international boarding school founded by Kurt Hahn in 1962, which still uses it.
Interest in aviation
Hearst was particularly interested in the newly emerging technologies relating to aviation and had his first experience of flight in January 1910, in Los Angeles. Louis Paulhan, a French aviator, took him for an air trip on his Farman biplane. Hearst also sponsored Old Glory as well as the Hearst Transcontinental Prize.
Financial disaster
Hearst's crusade against Roosevelt and the New Deal, combined with union strikes and boycotts of his properties, undermined the financial strength of his empire. Circulation of his major publications declined in the mid-1930s, while rivals such as the New York Daily News were flourishing. He refused to take effective cost-cutting measures, and instead increased his very expensive art purchases. His friend Joseph P. Kennedy offered to buy the magazines, but Hearst jealously guarded his empire and refused. Instead, he sold some of his heavily mortgaged real estate. San Simeon itself was mortgaged to Los Angeles Times owner Harry Chandler in 1933 for $600,000.
Finally his financial advisors realized he was tens of millions of dollars in debt, and could not pay the interest on the loans, let alone reduce the principal. The proposed bond sale failed to attract investors, as Hearst's financial crisis became widely known. As Marion Davies's stardom waned, Hearst's movies also began to hemorrhage money. As the crisis deepened, he let go of most of his household staff, sold his exotic animals to the Los Angeles Zoo, and named a trustee to control his finances. He still refused to sell his beloved newspapers. At one point, to avoid outright bankruptcy, he had to accept a $1 million loan from Marion Davies, who sold all her jewelry, stocks and bonds to raise the cash for him. Davies also managed to raise him another million as a loan from Washington Herald owner Cissy Patterson. The trustee cut Hearst's annual salary to $500,000, and stopped the annual payment of $700,000 in dividends. He had to pay rent for living in his castle at San Simeon.
Legally Hearst avoided bankruptcy, although the public generally saw it as such as appraisers went through the tapestries, paintings, furniture, silver, pottery, buildings, autographs, jewelry, and other collectibles. Items in the thousands were gathered from a five-story warehouse in New York, warehouses near San Simeon containing large amounts of Greek sculpture and ceramics, and the contents of St. Donat's. His collections were sold off in a series of auctions and private sales in 1938–39. John D. Rockefeller, Junior, bought $100,000 of antique silver for his new museum at Colonial Williamsburg. The market for art and antiques had not recovered from the depression, so Hearst made an overall loss of hundreds of thousands of dollars. During this time, Hearst's friend George Loorz commented sarcastically: "He would like to start work on the outside pool [at San Simeon], start a new reservoir etc. but told me yesterday 'I want so many things but haven't got the money.' Poor fellow, let's take up a collection."
He was embarrassed in early 1939 when Time magazine published a feature which revealed he was at risk of defaulting on his mortgage for San Simeon and losing it to his creditor and publishing rival, Harry Chandler. This, however, was averted, as Chandler agreed to extend the repayment.
Final years and death
After the disastrous financial losses of the 1930s, the Hearst Company returned to profitability during the Second World War, when advertising revenues skyrocketed. Hearst, after spending much of the war at his estate of Wyntoon, returned to San Simeon full-time in 1945 and resumed building works. He also continued collecting, on a reduced scale. He threw himself into philanthropy by donating a great many works to the Los Angeles County Museum of Art.
In 1947, Hearst left his San Simeon estate to seek medical care, which was unavailable in the remote location. He died in Beverly Hills on August 14, 1951, at the age of 88. He was interred in the Hearst family mausoleum at the Cypress Lawn Cemetery in Colma, California, which his parents had established.
His will established two charitable trusts, the Hearst Foundation and the William Randolph Hearst Foundation. By his amended will, Marion Davies inherited 170,000 shares in the Hearst Corporation, which, combined with a trust fund of 30,000 shares that Hearst had established for her in 1950, gave her a controlling interest in the corporation. This was short-lived, as she relinquished the 170,000 shares to the Corporation on October 30, 1951, retaining her original 30,000 shares and a role as an advisor. Like their father, none of Hearst's five sons graduated from college. They all followed their father into the media business, and Hearst's namesake, William Randolph, Jr., became a Pulitzer Prize–winning newspaper reporter.
Criticism
In the 1890s, the already existing anti-Chinese and anti-Asian racism in San Francisco were further fanned by Hearst's anti-non-European descents, which were reflected in the rhetoric and the focus in The Examiner and one of his own signed editorials. These prejudices continued to be the mainstays throughout his journalistic career to galvanize his readers’ fears. Hearst staunchly supported the Japanese-American internment during WWII and used his media power to demonize Japanese-Americans and to drum up support for the internment of Japanese-Americans.
Some media outlets have attempted to bring attention to Hearst's involvement in the prohibition of cannabis in America. Hearst collaborated with Harry J. Anslinger to ban hemp due to the threat that the burgeoning hemp paper industry posed to his major investment and market share in the paper milling industry. This partnership to market propaganda against cannabis also created an immeasurable, long-lasting negative impact on global socioeconomics. Due to their efforts, hemp would remain illegal to grow in the US for almost a century, not being legalized until 2018.
As Martin Lee and Norman Solomon noted in their 1990 book Unreliable Sources, Hearst "routinely invented sensational stories, faked interviews, ran phony pictures and distorted real events". This approach discredited "yellow journalism".
Hearst's use of yellow journalism techniques in his New York Journal to whip up popular support for U.S. military adventurism in Cuba, Puerto Rico and the Philippines in 1898 was also criticized in Upton Sinclair's 1919 book, The Brass Check: A Study of American Journalism. According to Sinclair, Hearst's newspapers distorted world events and deliberately tried to discredit Socialists. Another critic, Ferdinand Lundberg, extended the criticism in Imperial Hearst (1936), charging that Hearst papers accepted payments from abroad to slant the news. After the war, a further critic, George Seldes, repeated the charges in Facts and Fascism (1947). Lundberg described Hearst "the weakest strong man and the strongest weak man in the world today... a giant with feet of clay."
In fiction
Citizen Kane
The film Citizen Kane (released on May 1, 1941) is loosely based on Hearst's life. Welles and his collaborator, screenwriter Herman J. Mankiewicz, created Kane as a composite character, among them Harold Fowler McCormick, Samuel Insull and Howard Hughes. Hearst, enraged at the idea of Citizen Kane being a thinly disguised and very unflattering portrait of him, used his massive influence and resources to prevent the film from being released—all without even having seen it. Welles and the studio RKO Pictures resisted the pressure but Hearst and his Hollywood friends ultimately succeeded in pressuring theater chains to limit showings of Citizen Kane, resulting in only moderate box-office numbers and seriously impairing Welles's career prospects. The fight over the film was documented in the Academy Award-nominated documentary, The Battle Over Citizen Kane, and nearly 60 years later, HBO offered a fictionalized version of Hearst's efforts in its original production RKO 281 (1999), in which James Cromwell portrays Hearst. Citizen Kane has twice been ranked No. 1 on AFI's 100 Years...100 Movies: in 1998 and 2007. In 2020, David Fincher directed Mank, starring Gary Oldman as Herman J. Mankiewicz, as he interacts with Hearst prior to the writing of Citizen Kane'''s screenplay. Charles Dance portrays Hearst in the film.
Other works
Films
In the television film Rough Riders (1997), Hearst (played by George Hamilton) is depicted as travelling to Cuba with a small band of journalists, to personally cover the Spanish–American War.
Hearst is mentioned in the Disney movie Newsies (1992), directed by Kenny Ortega, which depicts the Newsboys' Strike of 1899. Hearst is never seen onscreen but is referenced by several of the newsies in various musical numbers, and is portrayed as an antagonist engaged in a bitter circulation war with Joseph Pulitzer.
In the HBO movie Winchell (1998), Kevin Tighe played Hearst.
In RKO 281 He was played by James Cromwell.
The Cat's Meow (2001), a fictitious version of the death of Thomas H. Ince, takes place in November 1924, on a weekend cruise aboard publisher William Randolph Hearst's yacht, celebrating Ince's 44th birthday. The film's fictionalizes Ince's death by suggesting that Hearst shot Ince and covered it up. Hearst is portrayed by Edward Herrmann. (Ince actually became severely ill aboard Hearst's private yacht, and the official cause of the filmmaker's death was heart failure.)
He is portrayed by Matthew Marsh in Agnieszka Holland's 2019 film, Mr Jones.
He is portrayed by Charles Dance in David Fincher's 2020 film, Mank.
Literature
John Dos Passos's novel The Big Money (1936) includes a biographical sketch of Hearst.
Jack London's futuristic, dystopian novel of 1907, The Iron Heel, refers to Hearst by name; and the plot "predicts" the destruction of his publishing empire (along with the Democratic Party) in 1912, by means of an oligarchy of plutocrats and industrial trusts engineering the cessation of his advertising revenue.
In Ayn Rand's novel The Fountainhead (1943) and its eponymous 1949 film adaptation), the character Gail Wynand, a newspaper magnate who thinks he can control public sentiment but in reality is only a servant of the masses, is inspired by and modeled after the life of William Randolph Hearst.
In John Steinbeck's novel The Grapes of Wrath (1939), Hearst is anonymously described as the "newspaper fella near the coast" who "got a million acres" and looks "crazy an' mean" in pictures (ch. 18).
In Gore Vidal's historic novel series, Narratives of Empire, Hearst is a major character.
Scott Westerfeld's novel Goliath (2011) depicts Hearst in World War I.
In Charlaine Harris' The Russian Cage (2021) Hearst was the ruler of the HRE (formerly west coast states of US) who permitted the tsar and his entourage to settle in the defunct Navy base at San Diego.
Television
The rivalry between Hearst and Joseph Pulitzer has been documented on National Geographic Channel's series American Genius (2015).
In the TNT series "The Alienist", in the second season played by Matt Letscher.
In "The Paper Dynasty" (1964) episode of the syndicated Western television series, Death Valley Days, hosted by Stanley Andrews. In the story line, Hearst (played by James Hampton) struggles to turn a profit despite increased circulation of The San Francisco Examiner, featuring James Lanphier (1920–1969) as Ambrose Bierce and Robert O. Cornthwaite as Sam Chamberlain.
In "The Odyssey", a 1979 episode of the television series Little House on the Prairie, Hearst (played by Bill Ewing) is depicted as a friendly and talented young San Francisco journalist.
Hearst (portrayed by John Colton) appears in the season 2 episode "Hollywoodland" of the NBC series Timeless.
See also
Hearst Ranch
History of American newspapers
The Hacienda (Milpitas Ranchhouse)
References
Notes
Citations
Sources
Further reading
Bernhardt, Mark. "The Selling of Sex, Sleaze, Scuttlebutt, and other Shocking Sensations: The Evolution of New Journalism in San Francisco, 1887–1900." American Journalism 28#4 (2011): 111–42.
Carlisle, Rodney. "The Foreign Policy Views of an Isolationist Press Lord: W. R. Hearst & the International Crisis, 1936–41" Journal of Contemporary History (1974) 9#3 pp. 217–27.
Goldstein, Benjamin S. “‘A Legend Somewhat Larger than Life’: Karl H. von Wiegand and the Trajectory of Hearstian Sensationalist Journalism*.” Historical Research 94, no. 265 (August 1, 2021): 629–59. https://doi.org/10.1093/hisres/htab019.
Kastner, Victoria, with a foreword by Stephen T. Hearst (2013). Hearst Ranch: Family, Land and Legacy. New York: H. N. Abrams. .
Kastner, Victoria, with photographs by Victoria Garagliano (2000). Hearst Castle: The Biography of a Country House. New York: H. N. Abrams. .
Kastner, Victoria, with photographs by Victoria Garagliano (2009). Hearst's San Simeon: The Gardens and the Land. New York: H. N. Abrams. .
Landers, James. "Hearst's Magazine, 1912–1914: Muckraking Sensationalist." Journalism History 38.4 (2013): 221.
Leonard, Thomas C. "Hearst, William Randolph"; American National Biography Online (2000). Access Date: May 12, 2016
Thomas, Evan. The war lovers: Roosevelt, Lodge, Hearst, and the rush to empire, 1898 (2010).
Winkler, John K. W.R. Hearst An American Phenomenon'', Jonathan Cape, (1928)
External links
Hearst the Collector at LACMA
Zpub.com: William Randolph Hearst biography
The William Randolph Hearst Art Archive at Long Island University
Guide to the William Randolph Hearst Papers at The Bancroft Library
Hearstcastle.org: Hearst Castle at San Simeon
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1863 births
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19th-century American newspaper publishers (people)
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Burials at Cypress Lawn Memorial Park
Businesspeople from Los Angeles
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The Harvard Lampoon alumni
Hasty Pudding alumni
William Randolph
Land owners from California
Members of the United States House of Representatives from New York (state)
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News agency founders
Old Right (United States)
People from Beverly Hills, California
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[
"Congress Records was a record label founded in 1962 by Neil Galligan who headed Canadian-American Records and brought with him Linda Scott from that label. The label was sold the following year to Kapp Records. Under Kapp, the most successful artist was Shirley Ellis. Kapp rendered Congress inactive in 1966. Kapp, including the Congress catalogue, was sold to MCA in 1967. MCA reactivated Congress in 1969. The most successful act for this incarnation of Congress was the Flying Machine. Another notable act on Congress was Elton John but after a couple of unsuccessful singles on Congress, the label was discontinued in 1970 with Congress acts transferred to other MCA labels. Elton John was transferred to Uni Records where he started having hits.\n\nReferences\n\nExternal links\nCongress Records story from BSN Pubs\nCongress Records 45 rpm discography from Global Dog Productions\n\nAmerican record labels\nMCA Records\nRecord labels established in 1962\nRecord labels disestablished in 1970",
"Henry Nes (May 20, 1799 – September 10, 1850) was an American medical doctor and politician.\n\nBiography\nNes was born in York, Pennsylvania. He graduated from Princeton College (the New Jersey institution which changed its name to Princeton University in 1896). After his graduation he studied medicine, and then returned to York to practice.\n\nPolitical career\nNes ran as an Independent Democrat for one of the Pennsylvania seats in the US House of Representatives in the 28th United States Congress (1842). He was successful, and served from 1843 to 1845.\n\nIn 1846 Nes ran as a Whig candidate for the same seat in the 30th United States Congress and was elected. In 1848 he ran for re-election, and was again successful.\n\nNes served in the 31st United States Congress from March until September 1850, when he died in office. A special election was held to fill his seat; the winner was Joel Buchanan Danner.\n\nDuring his congressional service Nes served as chairman of the United States House Committee on Invalid Pensions and the United States House Committee on Revisal and Unfinished Business, both during the Thirtieth Congress.\n\nDeath\nNes died on September 10, 1850. He was buried in York's Prospect Hill Cemetery.\n\nSee also\nList of United States Congress members who died in office (1790–1899)\n\nSources\n\nThe Political Graveyard\n\n1799 births\n1850 deaths\nMembers of the United States House of Representatives from Pennsylvania\nPhysicians from Pennsylvania\nPoliticians from York, Pennsylvania\nPennsylvania Whigs\nPrinceton University alumni\nPennsylvania Democrats\nPennsylvania Independents\nIndependent Democrat members of the United States House of Representatives\nWhig Party members of the United States House of Representatives\n19th-century American politicians"
] |
[
"William Randolph Hearst",
"Involvement in politics",
"When did he get involved in politics?",
"He narrowly failed in attempts to become mayor of New York City in both 1905 and 1909 and governor of New York in 1906,",
"Did he attempt to run for any other offices?",
"He was defeated for the governorship by Charles Evans Hughes.",
"Did he do anything else in politics aside from running for office?",
"Hearst was on the left wing of the Progressive Movement, speaking on behalf of the working class (who bought his papers)",
"Where did he speak?",
"His newspapers",
"Was he successful in advocating for the working class?",
"he was elected to Congress in 1902 and 1904.",
"Was he successful in Congress?",
"I don't know."
] |
C_157aad7f67974c55b20a22f3e235e87c_0
|
What else is notable about his experience in politics?
| 7 |
What else is notable about William Randolph Hearst's experience in politics other than his two failed campaigns for mayor in 1905 and 1909, his failed campaign for governor in 1906, and his time as a United States congressman?
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William Randolph Hearst
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Hearst won two elections to Congress, then lost a series of elections. He narrowly failed in attempts to become mayor of New York City in both 1905 and 1909 and governor of New York in 1906, nominally remaining a Democrat while also creating the Independence Party. He was defeated for the governorship by Charles Evans Hughes. Hearst's unsuccessful campaigns for office after his tenure in the House of Representatives earned him the unflattering but short-lived nickname of "William 'Also-Randolph' Hearst", which was coined by Wallace Irwin. Hearst was on the left wing of the Progressive Movement, speaking on behalf of the working class (who bought his papers) and denouncing the rich and powerful (who disdained his editorials). With the support of Tammany Hall (the regular Democratic organization in Manhattan), he was elected to Congress in 1902 and 1904. He ran for the Democratic nomination for president in 1904, losing to a conservative New York judge, Alton B. Parker. Breaking with Tammany in 1907, Hearst ran for mayor of New York City under a third party of his own creation, the Municipal Ownership League). Tammany Hall exerted its utmost to defeat him. An opponent of the British Empire, Hearst opposed American involvement in the First World War and attacked the formation of the League of Nations. His newspapers abstained from endorsing any candidate in 1920 and 1924. Hearst's last bid for office came in 1922 when he was backed by Tammany Hall leaders for the U.S. Senate nomination in New York. Al Smith vetoed this, earning the lasting enmity of Hearst. Although Hearst shared Smith's opposition to Prohibition, he swung his papers behind Herbert Hoover in the 1928 presidential election. Hearst's support for Franklin D. Roosevelt at the 1932 Democratic National Convention, via his allies William Gibbs McAdoo and John Nance Garner, can also be seen as part of his vendetta against Smith, who was an opponent of Roosevelt's at that convention. CANNOTANSWER
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Hearst ran for mayor of New York City under a third party of his own creation, the Municipal Ownership League). Tammany Hall exerted its utmost to defeat him.
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William Randolph Hearst Sr. (; April 29, 1863 – August 14, 1951) was an American businessman, newspaper publisher, and politician known for developing the nation's largest newspaper chain and media company, Hearst Communications. His flamboyant methods of yellow journalism influenced the nation's popular media by emphasizing sensationalism and human interest stories. Hearst entered the publishing business in 1887 with Mitchell Trubitt after being given control of The San Francisco Examiner by his wealthy father, Senator George Hearst.
After moving to New York City, Hearst acquired the New York Journal and fought a bitter circulation war with Joseph Pulitzer's New York World. Hearst sold papers by printing giant headlines over lurid stories featuring crime, corruption, sex, and innuendo. Hearst acquired more newspapers and created a chain that numbered nearly 30 papers in major American cities at its peak. He later expanded to magazines, creating the largest newspaper and magazine business in the world. Hearst controlled the editorial positions and coverage of political news in all his papers and magazines, and thereby often published his personal views. He sensationalized Spanish atrocities in Cuba while calling for war in 1898 against Spain. Historians, however, reject his subsequent claims to have started the war with Spain as overly extravagant.
He was twice elected as a Democrat to the U.S. House of Representatives. He ran unsuccessfully for President of the United States in 1904, Mayor of New York City in 1905 and 1909, and for Governor of New York in 1906. During his political career, he espoused views generally associated with the left wing of the Progressive Movement, claiming to speak on behalf of the working class.
After 1918 and the end of World War I, Hearst gradually began adopting more conservative views and started promoting an isolationist foreign policy to avoid any more entanglement in what he regarded as corrupt European affairs. He was at once a militant nationalist, a fierce anti-communist after the Russian Revolution, and deeply suspicious of the League of Nations and of the British, French, Japanese, and Russians. He was a leading supporter of Franklin D. Roosevelt in 1932–1934, but then broke with FDR and became his most prominent enemy on the right. Hearst's empire reached a peak circulation of 20 million readers a day in the mid-1930s. He was a bad manager of finances and so deeply in debt during the Great Depression that most of his assets had to be liquidated in the late 1930s. Hearst managed to keep his newspapers and magazines.
His life story was the main inspiration for Charles Foster Kane, the lead character in Orson Welles's film Citizen Kane (1941). His Hearst Castle, constructed on a hill overlooking the Pacific Ocean near San Simeon, has been preserved as a State Historical Monument and is designated as a National Historic Landmark.
Ancestry and early life
William R. Hearst was born in San Francisco to George Hearst, a millionaire mining engineer, owner of gold and other mines through his corporation, and his much younger wife Phoebe Apperson Hearst, from a small town in Missouri. The elder Hearst later entered politics, and served as a US Senator, first appointed for a brief period in 1886, then elected later that year. He served from 1887 to his death in 1891.
His paternal great-grandfather was John Hearst of Ulster Protestant origin. John Hearst, with his wife and six children, migrated to America from Ballybay, County Monaghan, Ireland, as part of the Cahans Exodus in 1766, and settled in South Carolina. Their immigration to South Carolina was spurred in part by the colonial government's policy that encouraged the immigration of Irish Protestants, many of Scots origin. The names "John Hearse" and "John Hearse Jr." appear on the council records of October 26, 1766, being credited with meriting of land on the Long Canes (in what became Abbeville District), based upon to heads of household and for each dependent of a Protestant immigrant. The "Hearse" spelling of the family name never was used afterward by the family members themselves, or any family of any size. A separate theory purports that one branch of a "Hurst" family of Virginia (originally from Plymouth Colony) moved to South Carolina at about the same time and changed the spelling of its surname of over a century to that of the immigrant Hearsts. Hearst's mother, née Phoebe Elizabeth Apperson, was also of Scots-Irish ancestry; her family came from Galway. She was appointed as the first woman regent of University of California, Berkeley, donated funds to establish libraries at several universities, funded many anthropological expeditions, and founded the Phoebe A. Hearst Museum of Anthropology.
Hearst attended prep school at St. Paul's School in Concord, New Hampshire. He enrolled in the Harvard College class of 1885. While there he was a member of Delta Kappa Epsilon, the A.D. Club (a Harvard Final club), the Hasty Pudding Theatricals, and of the Lampoon before being expelled. His antics had ranged from sponsoring massive beer parties in Harvard Square to sending pudding pots used as chamber pots to his professors (their images were depicted within the bowls).
Publishing business
Searching for an occupation, in 1887 Hearst took over management of his father's newspaper, the San Francisco Examiner, which his father had acquired in 1880 as repayment for a gambling debt. Giving his paper the grand motto "Monarch of the Dailies", Hearst acquired the best equipment and the most talented writers of the time, including Ambrose Bierce, Mark Twain, Jack London, and political cartoonist Homer Davenport. A self-proclaimed populist, Hearst reported accounts of municipal and financial corruption, often attacking companies in which his own family held an interest. Within a few years, his paper dominated the San Francisco market.
New York Morning Journal
Early in his career at the San Francisco Examiner, Hearst envisioned running a large newspaper chain, and "always knew that his dream of a nation-spanning, multi-paper news operation was impossible without a triumph in New York". In 1895, with the financial support of his widowed mother (his father had died in 1891), Hearst bought the failing New York Morning Journal, hiring writers such as Stephen Crane and Julian Hawthorne, and entering into a head-to-head circulation war with Joseph Pulitzer, owner and publisher of the New York World. Hearst "stole" Richard F. Outcault, the creator of color comics, and all of Pulitzer's Sunday staff as well. Another prominent hire was James J. Montague, who came from the Portland Oregonian and started his well-known "More Truth Than Poetry" column at the Hearst-owned New York Evening Journal.
When Hearst purchased the "penny paper", so called because its copies sold for a penny apiece, the Journal was competing with New York's 16 other major dailies. It had a strong focus on Democratic Party politics. Hearst imported his best managers from the San Francisco Examiner and "quickly established himself as the most attractive employer" among New York newspapers. He was generous, paid more than his competitors, gave credit to his writers with page-one bylines, and was unfailingly polite, unassuming, "impeccably calm", and indulgent of "prima donnas, eccentrics, bohemians, drunks, or reprobates so long as they had useful talents".
Hearst's activist approach to journalism can be summarized by the motto, "While others Talk, the Journal Acts."
Yellow journalism and rivalry with the New York World
The New York Journal and its chief rival, the New York World, mastered a style of popular journalism that came to be derided as "yellow journalism", after Outcault's Yellow Kid comic. Pulitzer's World had pushed the boundaries of mass appeal for newspapers through bold headlines, aggressive news gathering, generous use of cartoons and illustrations, populist politics, progressive crusades, an exuberant public spirit, and dramatic crime and human-interest stories. Hearst's Journal used the same recipe for success, forcing Pulitzer to drop the price of the World from two cents to a penny. Soon the two papers were locked in a fierce, often spiteful competition for readers in which both papers spent large sums of money and saw huge gains in circulation.
Within a few months of purchasing the Journal, Hearst hired away Pulitzer's three top editors: Sunday editor Morrill Goddard, who greatly expanded the scope and appeal of the American Sunday newspaper; Solomon Carvalho, and a young Arthur Brisbane, who became managing editor of the Hearst newspaper empire, and a legendary columnist. Contrary to popular assumption, they were not lured away by higher pay—rather, each man had grown tired of the temperamental, domineering Pulitzer and the paranoid, back-biting office politics which he encouraged.
While Hearst's many critics attribute the Journals incredible success to cheap sensationalism, Kenneth Whyte noted in The Uncrowned King: The Sensational Rise Of William Randolph Hearst: "Rather than racing to the bottom, he [Hearst] drove the Journal and the penny press upmarket. The Journal was a demanding, sophisticated paper by contemporary standards." Though yellow journalism would be much maligned, Whyte said, "All good yellow journalists ... sought the human in every story and edited without fear of emotion or drama. They wore their feelings on their pages, believing it was an honest and wholesome way to communicate with readers", but, as Whyte pointed out: "This appeal to feelings is not an end in itself... [they believed] our emotions tend to ignite our intellects: a story catering to a reader's feelings is more likely than a dry treatise to stimulate thought."
The two papers finally declared a truce in late 1898, after both lost vast amounts of money covering the Spanish–American War. Hearst probably lost several million dollars in his first three years as publisher of the Journal (figures are impossible to verify) but the paper began turning a profit after it ended its fight with the World.
Under Hearst, the Journal remained loyal to the populist or left wing of the Democratic Party. It was the only major publication in the East to support William Jennings Bryan in 1896. Its coverage of that election was probably the most important of any newspaper in the country, attacking relentlessly the unprecedented role of money in the Republican campaign and the dominating role played by William McKinley's political and financial manager, Mark Hanna, the first national party 'boss' in American history. A year after taking over the paper, Hearst could boast that sales of the Journal's post-election issue (including the evening and German-language editions) topped 1.5 million, a record "unparalleled in the history of the world."
The Journal's political coverage, however, was not entirely one-sided. Kenneth Whyte says that most editors of the time "believed their papers should speak with one voice on political matters"; by contrast, in New York, Hearst "helped to usher in the multi-perspective approach we identify with the modern op-ed page". At first he supported the Russian Revolution of 1917 but later he turned against it. Hearst fought hard against Wilsonian internationalism, the League of Nations, and the World Court, thereby appealing to an isolationist audience.
Spanish–American War
The Morning Journal's daily circulation routinely climbed above the 1 million mark after the sinking of the and U.S. entry into the Spanish–American War, a war that some called The Journals War, due to the paper's immense influence in provoking American outrage against Spain. Much of the coverage leading up to the war, beginning with the outbreak of the Cuban Revolution in 1895, was tainted by rumor, propaganda, and sensationalism, with the "yellow" papers regarded as the worst offenders. The Journal and other New York newspapers were so one-sided and full of errors in their reporting that coverage of the Cuban crisis and the ensuing Spanish–American War is often cited as one of the most significant milestones in the rise of yellow journalism's hold over the mainstream media. Huge headlines in the Journal assigned blame for the Maine's destruction on sabotage, which was based on no evidence. This reporting stoked outrage and indignation against Spain among the paper's readers in New York.
The Journal's crusade against Spanish rule in Cuba was not due to mere jingoism, although "the democratic ideals and humanitarianism that inspired their coverage are largely lost to history," as are their "heroic efforts to find the truth on the island under unusually difficult circumstances." The Journal's journalistic activism in support of the Cuban rebels, rather, was centered around Hearst's political and business ambitions.
Perhaps the best known myth in American journalism is the claim, without any contemporary evidence, that the illustrator Frederic Remington, sent by Hearst to Cuba to cover the Cuban War of Independence, cabled Hearst to tell him all was quiet in Cuba. Hearst, in this canard, is said to have responded, "Please remain. You furnish the pictures and I'll furnish the war."
Hearst was personally dedicated to the cause of the Cuban rebels, and the Journal did some of the most important and courageous reporting on the conflict—as well as some of the most sensationalized. Their stories on the Cuban rebellion and Spain's atrocities on the island—many of which turned out to be untrue—were motivated primarily by Hearst's outrage at Spain's brutal policies on the island. These had resulted in the deaths of hundreds of thousands of innocent Cubans. The most well-known story involved the imprisonment and escape of Cuban prisoner Evangelina Cisneros.
While Hearst and the yellow press did not directly cause America's war with Spain, they inflamed public opinion in New York City to a fever pitch. New York's elites read other papers, such as the Times and Sun, which were far more restrained. The Journal and the World were local papers oriented to a very large working class audience in New York City. They were not among the top ten sources of news in papers in other cities, and their stories did not make a splash outside New York City. Outrage across the country came from evidence of what Spain was doing in Cuba, a major influence in the decision by Congress to declare war.
According to a 21st-century historian, war was declared by Congress because public opinion was sickened by the bloodshed, and because leaders like McKinley realized that Spain had lost control of Cuba. These factors weighed more on the president's mind than the melodramas in the New York Journal.
Hearst sailed to Cuba with a small army of Journal reporters to cover the Spanish–American War; they brought along portable printing equipment, which was used to print a single-edition newspaper in Cuba after the fighting had ended. Two of the Journal's correspondents, James Creelman and Edward Marshall, were wounded in the fighting. A leader of the Cuban rebels, Gen. Calixto García, gave Hearst a Cuban flag that had been riddled with bullets as a gift, in appreciation of Hearst's major role in Cuba's liberation.
Expansion
In part to aid in his political ambitions, Hearst opened newspapers in other cities, among them Chicago, Los Angeles and Boston. In 1915, he founded International Film Service, an animation studio designed to exploit the popularity of the comic strips he controlled. The creation of his Chicago paper was requested by the Democratic National Committee. Hearst used this as an excuse for his mother Phoebe Hearst to transfer him the necessary start-up funds. By the mid-1920s he had a nationwide string of 28 newspapers, among them the Los Angeles Examiner, the Boston American, the Atlanta Georgian, the Chicago Examiner, the Detroit Times, the Seattle Post-Intelligencer, the Washington Times, the Washington Herald, and his flagship, the San Francisco Examiner.
Hearst also diversified his publishing interests into book publishing and magazines. Several of the latter are still in circulation, including such periodicals as Cosmopolitan, Good Housekeeping, Town and Country, and Harper's Bazaar.
In 1924, Hearst opened the New York Daily Mirror, a racy tabloid frankly imitating the New York Daily News. Among his other holdings were two news services, Universal News and International News Service, or INS, the latter of which he founded in 1909. He also owned INS companion radio station WINS in New York; King Features Syndicate, which still owns the copyrights of a number of popular comics characters; a film company, Cosmopolitan Productions; extensive New York City real estate; and thousands of acres of land in California and Mexico, along with timber and mining interests inherited from his father.
Hearst promoted writers and cartoonists despite the lack of any apparent demand for them by his readers. The press critic A. J. Liebling reminds us how many of Hearst's stars would not have been deemed employable elsewhere. One Hearst favorite, George Herriman, was the inventor of the dizzy comic strip Krazy Kat. Not especially popular with either readers or editors when it was first published, in the 21st century, it is considered a classic, a belief once held only by Hearst himself.
In 1929, he became one of the sponsors of the first round-the-world voyage in an airship, the LZ 127 Graf Zeppelin from Germany. His sponsorship was conditional on the trip starting at Lakehurst Naval Air Station, New Jersey. The ship's captain, Dr. Hugo Eckener, first flew the Graf Zeppelin across the Atlantic from Germany to pick up Hearst's photographer and at least three Hearst correspondents. One of them, Grace Marguerite Hay Drummond-Hay, by that flight became the first woman to travel around the world by air.
The Hearst news empire reached a revenue peak about 1928, but the economic collapse of the Great Depression in the United States and the vast over-extension of his empire cost him control of his holdings. It is unlikely that the newspapers ever paid their own way; mining, ranching and forestry provided whatever dividends the Hearst Corporation paid out. When the collapse came, all Hearst properties were hit hard, but none more so than the papers. Hearst's conservative politics, increasingly at odds with those of his readers, worsened matters for the once great Hearst media chain. Having been refused the right to sell another round of bonds to unsuspecting investors, the shaky empire tottered. Unable to service its existing debts, Hearst Corporation faced a court-mandated reorganization in 1937.
From that point, Hearst was reduced to being an employee, subject to the directives of an outside manager. Newspapers and other properties were liquidated, the film company shut down; there was even a well-publicized sale of art and antiquities. While World War II restored circulation and advertising revenues, his great days were over. The Hearst Corporation continues to this day as a large, privately held media conglomerate based in New York City.
Involvement in politics
Hearst won two elections to Congress, then lost a series of elections. He narrowly failed in attempts to become mayor of New York City in both 1905 and 1909 and governor of New York in 1906, nominally remaining a Democrat while also creating the Independence Party. He was defeated for the governorship by Charles Evans Hughes. Hearst's unsuccessful campaigns for office after his tenure in the House of Representatives earned him the unflattering but short-lived nickname of "William 'Also-Randolph' Hearst", which was coined by Wallace Irwin.
Hearst was on the left wing of the Progressive Movement, speaking on behalf of the working class (who bought his papers) and denouncing the rich and powerful (who disdained his editorials). With the support of Tammany Hall (the regular Democratic organization in Manhattan), Hearst was elected to Congress from New York in 1902 and 1904. He made a major effort to win the 1904 Democratic nomination for president, losing to conservative Alton B. Parker. Breaking with Tammany in 1907, Hearst ran for mayor of New York City under a third party of his own creation, the Municipal Ownership League. Tammany Hall exerted its utmost to defeat him.
An opponent of the British Empire, Hearst opposed American involvement in the First World War and attacked the formation of the League of Nations. His newspapers abstained from endorsing any candidate in 1920 and 1924. Hearst's last bid for office came in 1922, when he was backed by Tammany Hall leaders for the U.S. Senate nomination in New York. Al Smith vetoed this, earning the lasting enmity of Hearst. Although Hearst shared Smith's opposition to Prohibition, he swung his papers behind Herbert Hoover in the 1928 presidential election. Hearst's support for Franklin D. Roosevelt at the 1932 Democratic National Convention, via his allies William Gibbs McAdoo and John Nance Garner, can also be seen as part of his vendetta against Smith, who was an opponent of Roosevelt's at that convention.
Move to the right
During the 1920s Hearst was a Jeffersonian Democrat. He warned citizens against the dangers of big government and against unchecked federal power that could infringe on individual rights. Hearst supported FDR in 1932, but then became critical of the New Deal. More and more often, Hearst newspapers supported business over organized labor and condemned higher income tax legislation.
Hearst broke with FDR in spring 1935 when the president vetoed the Patman Bonus Bill for veterans and tried to enter the World Court. Hearst's papers were his weapon. They carried the publisher's rambling, vitriolic, all-capital-letters editorials, but he no longer employed the energetic reporters, editors, and columnists who might have made a serious attack. He reached 20 million readers in the mid-1930s, but they included much of the working class which Roosevelt had attracted by three-to-one margins in the 1936 election. The Hearst papers—like most major chains—had supported the Republican Alf Landon that year.
While campaigning against Roosevelt's policy of developing formal diplomatic relations with the Soviet Union, in 1935 Hearst ordered his editors to reprint eyewitness accounts of the Ukrainian famine (the Holdomor). These had been supplied in 1933 by Welsh freelance journalist Gareth Jones, and by the disillusioned American Communist Fred Beal. The New York Times, content with what it has since conceded was "tendentious" reporting of Soviet achievements, printed the blanket denials of its Pulitzer Prize-winning Moscow correspondent Walter Duranty. Duranty, who was widely credited with facilitating the rapprochement with Moscow, dismissed the Hearst-circulated reports of made-made starvation as a politically-motivated "scare story".
In the articles, written by Thomas Walker, to better serve Hearst 's editorial line against Roosevelt's Soviet policy the famine was "updated"; placed in 1934 rather than 1932-1933. In The Nation, Louis Fischer accused Walker of pure invention. Fischer had been to the Ukraine in 1934 and had seen no famine. He interpreted the whole affair as merely an attempt by Hearst to "spoil Soviet-American relations" as part of "an anti-red campaign".
In 1934, after checking with Jewish leaders to ensure a visit would be to their benefit, Hearst visited Berlin to interview Adolf Hitler. When Hitler asked why he was so misunderstood by the American press, Hearst retorted: "Because Americans believe in democracy, and are averse to dictatorship." Hearst's papers ran columns without rebuttal by Nazi leader Hermann Göring and Hitler himself, as well as Mussolini and other dictators in Europe and Latin America. During that same year 1934, Japan / U.S. relations were unstable. In an attempt to remedy this, Prince Tokugawa Iesato traveled throughout the United States on a goodwill visit. During his visit, Prince Iesato and his delegation met with William Randolph Hearst with the hope of improving mutual understanding between the two nations.
Personal life
Millicent Willson
In 1903, Hearst married Millicent Veronica Willson (1882–1974), a 21-year-old chorus girl, in New York City. Evidence in Louis Pizzitola's book, Hearst Over Hollywood, indicates that Millicent's mother Hannah Willson ran a Tammany-connected and protected brothel near the headquarters of political power in New York City at the turn of the 20th century. Millicent bore him five sons: George Randolph Hearst, born on April 23, 1904; William Randolph Hearst Jr., born on January 27, 1908; John Randolph Hearst, born in 1910; and twins Randolph Apperson Hearst and David Whitmire (né Elbert Willson) Hearst, born on December 2, 1915.
Marion Davies
Conceding an end to his political hopes, Hearst became involved in an affair with the film actress and comedian Marion Davies (1897–1961), former mistress of his friend Paul Block. From about 1919, he lived openly with her in California. After the death of Patricia Lake (1919/1923–1993), who had been presented as Davies's "niece," her family confirmed that she was Davies's and Hearst's daughter. She had acknowledged this before her death.
Millicent separated from Hearst in the mid-1920s after tiring of his longtime affair with Davies, but the couple remained legally married until Hearst's death. Millicent built an independent life for herself in New York City as a leading philanthropist. She was active in society and in 1921 created the Free Milk Fund for the poor.
California properties
Beginning in 1919, Hearst began to build Hearst Castle, which he never completed, on a ranch at San Simeon, California, which he had inherited from his father. He furnished the mansion with art, antiques, and entire historic rooms purchased and brought from the great houses of Europe. He established an Arabian horse breeding operation on the grounds.
Hearst also had a property on the McCloud River in Siskiyou County, in far northern California, called Wyntoon. The buildings at Wyntoon were designed by architect Julia Morgan, who also designed Hearst Castle and worked in collaboration with William J. Dodd on a number of other projects.
In 1947, Hearst paid $120,000 for an H-shaped Beverly Hills mansion, (located at 1011 N. Beverly Dr.), on 3.7 acres three blocks from Sunset Boulevard. The Beverly House, as it has come to be known, has some cinematic connections. According to Hearst Over Hollywood, John and Jacqueline Kennedy stayed at the house for part of their honeymoon. The house appeared in the film The Godfather (1972).
In the early 1890s, Hearst began building a mansion on the hills overlooking Pleasanton, California, on land purchased by his father a decade earlier. Hearst's mother took over the project, hired Julia Morgan to finish it as her home, and named it Hacienda del Pozo de Verona. After her death, it was acquired by Castlewood Country Club, which used it as their clubhouse from 1925 to 1969, when it was destroyed in a major fire.
Art collection
Hearst was renowned for his extensive collection of international art that spanned centuries. Most notable in his collection were his Greek vases, Spanish and Italian furniture, Oriental carpets, Renaissance vestments, an extensive library with many books signed by their authors, and paintings and statues. In addition to collecting pieces of fine art, he also gathered manuscripts, rare books, and autographs. His guests included varied celebrities and politicians, who stayed in rooms furnished with pieces of antique furniture and decorated with artwork by famous artists.
Beginning in 1937, Hearst began selling some of his art collection to help relieve the debt burden he had suffered from the Depression. The first year he sold items for a total of $11 million. In 1941 he put about 20,000 items up for sale; these were evidence of his wide and varied tastes. Included in the sale items were paintings by van Dyke, crosiers, chalices, Charles Dickens's sideboard, pulpits, stained glass, arms and armor, George Washington's waistcoat, and Thomas Jefferson's Bible. When Hearst Castle was donated to the State of California, it was still sufficiently furnished for the whole house to be considered and operated as a museum.
St Donat's Castle
After seeing photographs, in Country Life Magazine, of St. Donat's Castle in Vale of Glamorgan, Wales, Hearst bought and renovated it in 1925 as a gift to Davies. The Castle was restored by Hearst, who spent a fortune buying entire rooms from other castles and palaces across the UK and Europe. The Great Hall was bought from the Bradenstoke Priory in Wiltshire and reconstructed brick by brick in its current site at St. Donat's. From the Bradenstoke Priory, he also bought and removed the guest house, Prior's lodging, and great tithe barn; of these, some of the materials became the St. Donat's banqueting hall, complete with a sixteenth-century French chimney-piece and windows; also used were a fireplace dated to c. 1514 and a fourteenth-century roof, which became part of the Bradenstoke Hall, despite this use being questioned in Parliament. Hearst built 34 green and white marble bathrooms for the many guest suites in the castle and completed a series of terraced gardens which survive intact today. Hearst and Davies spent much of their time entertaining, and held a number of lavish parties attended by guests including Charlie Chaplin, Douglas Fairbanks, Winston Churchill, and a young John F. Kennedy. When Hearst died, the castle was purchased by Antonin Besse II and donated to Atlantic College, an international boarding school founded by Kurt Hahn in 1962, which still uses it.
Interest in aviation
Hearst was particularly interested in the newly emerging technologies relating to aviation and had his first experience of flight in January 1910, in Los Angeles. Louis Paulhan, a French aviator, took him for an air trip on his Farman biplane. Hearst also sponsored Old Glory as well as the Hearst Transcontinental Prize.
Financial disaster
Hearst's crusade against Roosevelt and the New Deal, combined with union strikes and boycotts of his properties, undermined the financial strength of his empire. Circulation of his major publications declined in the mid-1930s, while rivals such as the New York Daily News were flourishing. He refused to take effective cost-cutting measures, and instead increased his very expensive art purchases. His friend Joseph P. Kennedy offered to buy the magazines, but Hearst jealously guarded his empire and refused. Instead, he sold some of his heavily mortgaged real estate. San Simeon itself was mortgaged to Los Angeles Times owner Harry Chandler in 1933 for $600,000.
Finally his financial advisors realized he was tens of millions of dollars in debt, and could not pay the interest on the loans, let alone reduce the principal. The proposed bond sale failed to attract investors, as Hearst's financial crisis became widely known. As Marion Davies's stardom waned, Hearst's movies also began to hemorrhage money. As the crisis deepened, he let go of most of his household staff, sold his exotic animals to the Los Angeles Zoo, and named a trustee to control his finances. He still refused to sell his beloved newspapers. At one point, to avoid outright bankruptcy, he had to accept a $1 million loan from Marion Davies, who sold all her jewelry, stocks and bonds to raise the cash for him. Davies also managed to raise him another million as a loan from Washington Herald owner Cissy Patterson. The trustee cut Hearst's annual salary to $500,000, and stopped the annual payment of $700,000 in dividends. He had to pay rent for living in his castle at San Simeon.
Legally Hearst avoided bankruptcy, although the public generally saw it as such as appraisers went through the tapestries, paintings, furniture, silver, pottery, buildings, autographs, jewelry, and other collectibles. Items in the thousands were gathered from a five-story warehouse in New York, warehouses near San Simeon containing large amounts of Greek sculpture and ceramics, and the contents of St. Donat's. His collections were sold off in a series of auctions and private sales in 1938–39. John D. Rockefeller, Junior, bought $100,000 of antique silver for his new museum at Colonial Williamsburg. The market for art and antiques had not recovered from the depression, so Hearst made an overall loss of hundreds of thousands of dollars. During this time, Hearst's friend George Loorz commented sarcastically: "He would like to start work on the outside pool [at San Simeon], start a new reservoir etc. but told me yesterday 'I want so many things but haven't got the money.' Poor fellow, let's take up a collection."
He was embarrassed in early 1939 when Time magazine published a feature which revealed he was at risk of defaulting on his mortgage for San Simeon and losing it to his creditor and publishing rival, Harry Chandler. This, however, was averted, as Chandler agreed to extend the repayment.
Final years and death
After the disastrous financial losses of the 1930s, the Hearst Company returned to profitability during the Second World War, when advertising revenues skyrocketed. Hearst, after spending much of the war at his estate of Wyntoon, returned to San Simeon full-time in 1945 and resumed building works. He also continued collecting, on a reduced scale. He threw himself into philanthropy by donating a great many works to the Los Angeles County Museum of Art.
In 1947, Hearst left his San Simeon estate to seek medical care, which was unavailable in the remote location. He died in Beverly Hills on August 14, 1951, at the age of 88. He was interred in the Hearst family mausoleum at the Cypress Lawn Cemetery in Colma, California, which his parents had established.
His will established two charitable trusts, the Hearst Foundation and the William Randolph Hearst Foundation. By his amended will, Marion Davies inherited 170,000 shares in the Hearst Corporation, which, combined with a trust fund of 30,000 shares that Hearst had established for her in 1950, gave her a controlling interest in the corporation. This was short-lived, as she relinquished the 170,000 shares to the Corporation on October 30, 1951, retaining her original 30,000 shares and a role as an advisor. Like their father, none of Hearst's five sons graduated from college. They all followed their father into the media business, and Hearst's namesake, William Randolph, Jr., became a Pulitzer Prize–winning newspaper reporter.
Criticism
In the 1890s, the already existing anti-Chinese and anti-Asian racism in San Francisco were further fanned by Hearst's anti-non-European descents, which were reflected in the rhetoric and the focus in The Examiner and one of his own signed editorials. These prejudices continued to be the mainstays throughout his journalistic career to galvanize his readers’ fears. Hearst staunchly supported the Japanese-American internment during WWII and used his media power to demonize Japanese-Americans and to drum up support for the internment of Japanese-Americans.
Some media outlets have attempted to bring attention to Hearst's involvement in the prohibition of cannabis in America. Hearst collaborated with Harry J. Anslinger to ban hemp due to the threat that the burgeoning hemp paper industry posed to his major investment and market share in the paper milling industry. This partnership to market propaganda against cannabis also created an immeasurable, long-lasting negative impact on global socioeconomics. Due to their efforts, hemp would remain illegal to grow in the US for almost a century, not being legalized until 2018.
As Martin Lee and Norman Solomon noted in their 1990 book Unreliable Sources, Hearst "routinely invented sensational stories, faked interviews, ran phony pictures and distorted real events". This approach discredited "yellow journalism".
Hearst's use of yellow journalism techniques in his New York Journal to whip up popular support for U.S. military adventurism in Cuba, Puerto Rico and the Philippines in 1898 was also criticized in Upton Sinclair's 1919 book, The Brass Check: A Study of American Journalism. According to Sinclair, Hearst's newspapers distorted world events and deliberately tried to discredit Socialists. Another critic, Ferdinand Lundberg, extended the criticism in Imperial Hearst (1936), charging that Hearst papers accepted payments from abroad to slant the news. After the war, a further critic, George Seldes, repeated the charges in Facts and Fascism (1947). Lundberg described Hearst "the weakest strong man and the strongest weak man in the world today... a giant with feet of clay."
In fiction
Citizen Kane
The film Citizen Kane (released on May 1, 1941) is loosely based on Hearst's life. Welles and his collaborator, screenwriter Herman J. Mankiewicz, created Kane as a composite character, among them Harold Fowler McCormick, Samuel Insull and Howard Hughes. Hearst, enraged at the idea of Citizen Kane being a thinly disguised and very unflattering portrait of him, used his massive influence and resources to prevent the film from being released—all without even having seen it. Welles and the studio RKO Pictures resisted the pressure but Hearst and his Hollywood friends ultimately succeeded in pressuring theater chains to limit showings of Citizen Kane, resulting in only moderate box-office numbers and seriously impairing Welles's career prospects. The fight over the film was documented in the Academy Award-nominated documentary, The Battle Over Citizen Kane, and nearly 60 years later, HBO offered a fictionalized version of Hearst's efforts in its original production RKO 281 (1999), in which James Cromwell portrays Hearst. Citizen Kane has twice been ranked No. 1 on AFI's 100 Years...100 Movies: in 1998 and 2007. In 2020, David Fincher directed Mank, starring Gary Oldman as Herman J. Mankiewicz, as he interacts with Hearst prior to the writing of Citizen Kane'''s screenplay. Charles Dance portrays Hearst in the film.
Other works
Films
In the television film Rough Riders (1997), Hearst (played by George Hamilton) is depicted as travelling to Cuba with a small band of journalists, to personally cover the Spanish–American War.
Hearst is mentioned in the Disney movie Newsies (1992), directed by Kenny Ortega, which depicts the Newsboys' Strike of 1899. Hearst is never seen onscreen but is referenced by several of the newsies in various musical numbers, and is portrayed as an antagonist engaged in a bitter circulation war with Joseph Pulitzer.
In the HBO movie Winchell (1998), Kevin Tighe played Hearst.
In RKO 281 He was played by James Cromwell.
The Cat's Meow (2001), a fictitious version of the death of Thomas H. Ince, takes place in November 1924, on a weekend cruise aboard publisher William Randolph Hearst's yacht, celebrating Ince's 44th birthday. The film's fictionalizes Ince's death by suggesting that Hearst shot Ince and covered it up. Hearst is portrayed by Edward Herrmann. (Ince actually became severely ill aboard Hearst's private yacht, and the official cause of the filmmaker's death was heart failure.)
He is portrayed by Matthew Marsh in Agnieszka Holland's 2019 film, Mr Jones.
He is portrayed by Charles Dance in David Fincher's 2020 film, Mank.
Literature
John Dos Passos's novel The Big Money (1936) includes a biographical sketch of Hearst.
Jack London's futuristic, dystopian novel of 1907, The Iron Heel, refers to Hearst by name; and the plot "predicts" the destruction of his publishing empire (along with the Democratic Party) in 1912, by means of an oligarchy of plutocrats and industrial trusts engineering the cessation of his advertising revenue.
In Ayn Rand's novel The Fountainhead (1943) and its eponymous 1949 film adaptation), the character Gail Wynand, a newspaper magnate who thinks he can control public sentiment but in reality is only a servant of the masses, is inspired by and modeled after the life of William Randolph Hearst.
In John Steinbeck's novel The Grapes of Wrath (1939), Hearst is anonymously described as the "newspaper fella near the coast" who "got a million acres" and looks "crazy an' mean" in pictures (ch. 18).
In Gore Vidal's historic novel series, Narratives of Empire, Hearst is a major character.
Scott Westerfeld's novel Goliath (2011) depicts Hearst in World War I.
In Charlaine Harris' The Russian Cage (2021) Hearst was the ruler of the HRE (formerly west coast states of US) who permitted the tsar and his entourage to settle in the defunct Navy base at San Diego.
Television
The rivalry between Hearst and Joseph Pulitzer has been documented on National Geographic Channel's series American Genius (2015).
In the TNT series "The Alienist", in the second season played by Matt Letscher.
In "The Paper Dynasty" (1964) episode of the syndicated Western television series, Death Valley Days, hosted by Stanley Andrews. In the story line, Hearst (played by James Hampton) struggles to turn a profit despite increased circulation of The San Francisco Examiner, featuring James Lanphier (1920–1969) as Ambrose Bierce and Robert O. Cornthwaite as Sam Chamberlain.
In "The Odyssey", a 1979 episode of the television series Little House on the Prairie, Hearst (played by Bill Ewing) is depicted as a friendly and talented young San Francisco journalist.
Hearst (portrayed by John Colton) appears in the season 2 episode "Hollywoodland" of the NBC series Timeless.
See also
Hearst Ranch
History of American newspapers
The Hacienda (Milpitas Ranchhouse)
References
Notes
Citations
Sources
Further reading
Bernhardt, Mark. "The Selling of Sex, Sleaze, Scuttlebutt, and other Shocking Sensations: The Evolution of New Journalism in San Francisco, 1887–1900." American Journalism 28#4 (2011): 111–42.
Carlisle, Rodney. "The Foreign Policy Views of an Isolationist Press Lord: W. R. Hearst & the International Crisis, 1936–41" Journal of Contemporary History (1974) 9#3 pp. 217–27.
Goldstein, Benjamin S. “‘A Legend Somewhat Larger than Life’: Karl H. von Wiegand and the Trajectory of Hearstian Sensationalist Journalism*.” Historical Research 94, no. 265 (August 1, 2021): 629–59. https://doi.org/10.1093/hisres/htab019.
Kastner, Victoria, with a foreword by Stephen T. Hearst (2013). Hearst Ranch: Family, Land and Legacy. New York: H. N. Abrams. .
Kastner, Victoria, with photographs by Victoria Garagliano (2000). Hearst Castle: The Biography of a Country House. New York: H. N. Abrams. .
Kastner, Victoria, with photographs by Victoria Garagliano (2009). Hearst's San Simeon: The Gardens and the Land. New York: H. N. Abrams. .
Landers, James. "Hearst's Magazine, 1912–1914: Muckraking Sensationalist." Journalism History 38.4 (2013): 221.
Leonard, Thomas C. "Hearst, William Randolph"; American National Biography Online (2000). Access Date: May 12, 2016
Thomas, Evan. The war lovers: Roosevelt, Lodge, Hearst, and the rush to empire, 1898 (2010).
Winkler, John K. W.R. Hearst An American Phenomenon'', Jonathan Cape, (1928)
External links
Hearst the Collector at LACMA
Zpub.com: William Randolph Hearst biography
The William Randolph Hearst Art Archive at Long Island University
Guide to the William Randolph Hearst Papers at The Bancroft Library
Hearstcastle.org: Hearst Castle at San Simeon
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"\"What Else Is There?\" is the third single from the Norwegian duo Röyksopp's second album The Understanding. It features the vocals of Karin Dreijer from the Swedish electronica duo The Knife. The album was released in the UK with the help of Astralwerks.\n\nThe single was used in an O2 television advertisement in the Czech Republic and in Slovakia during 2008. It was also used in the 2006 film Cashback and the 2007 film, Meet Bill. Trentemøller's remix of \"What Else is There?\" was featured in an episode of the HBO show Entourage.\n\nThe song was covered by extreme metal band Enslaved as a bonus track for their album E.\n\nThe song was listed as the 375th best song of the 2000s by Pitchfork Media.\n\nOfficial versions\n\"What Else Is There?\" (Album Version) – 5:17\n\"What Else Is There?\" (Radio Edit) – 3:38\n\"What Else Is There?\" (Jacques Lu Cont Radio Mix) – 3:46\n\"What Else Is There?\" (The Emperor Machine Vocal Version) – 8:03\n\"What Else Is There?\" (The Emperor Machine Dub Version) – 7:51\n\"What Else Is There?\" (Thin White Duke Mix) – 8:25\n\"What Else Is There?\" (Thin White Duke Edit) – 4:50\n\"What Else Is There?\" (Thin White Duke Remix) (Radio Edit) – 3:06\n\"What Else Is There?\" (Trentemøller Remix) – 7:42\n\"What Else Is There?\" (Vitalic Remix) – 5:14\n\nResponse\nThe single was officially released on 5 December 2005 in the UK. The single had a limited release on 21 November 2005 to promote the upcoming album. On the UK Singles Chart, it peaked at number 32, while on the UK Dance Chart, it reached number one.\n\nMusic video\nThe music video was directed by Martin de Thurah. It features Norwegian model Marianne Schröder who is shown lip-syncing Dreijer's voice. Schröder is depicted as a floating woman traveling across stormy landscapes and within empty houses. Dreijer makes a cameo appearance as a woman wearing an Elizabethan ruff while dining alone at a festive table.\n\nMovie spots\n\nThe song is also featured in the movie Meet Bill as characters played by Jessica Alba and Aaron Eckhart smoke marijuana while listening to it. It is also part of the end credits music of the film Cashback.\n\nCharts\n\nReferences\n\n2005 singles\nRöyksopp songs\nAstralwerks singles\nSongs written by Svein Berge\nSongs written by Torbjørn Brundtland\n2004 songs\nSongs written by Roger Greenaway\nSongs written by Olof Dreijer\nSongs written by Karin Dreijer",
"The Tarot series is a series of novels by Piers Anthony published in 1979 and 1980.\n\nSeries\nThe series consists of God of Tarot, Vision of Tarot, and Faith of Tarot.\n\nReception\nGreg Costikyan reviewed the series in Ares Magazine #2 and commented that \"Tarot is readable and pleasant, no mean feat for a pretty much disconnected series of episodes. Anthony has not yet (I hope) reached his full potential, but Tarot is a pleasant way-station in his path of development.\"\n\nRob Bricken of Io9 stated that \"the Tarot trilogy is nothing less than Anthony's complete and total exploration of religion, morality, sexuality, politics, education, and goodness knows what else.\"\n\nReferences\n\nAce Books books\nPiers Anthony sequences"
] |
[
"Tha Dogg Pound",
"Death Row years (1991-1998)"
] |
C_33681fda5e1b4eb3971dd629c6afa4cc_1
|
What did Tha Dogg Pound do in the Death Row years?
| 1 |
What did Tha Dogg Pound do in the Death Row years (1991-1998)?
|
Tha Dogg Pound
|
Before The Chronic album came out, Kurupt & Daz were solo artists, however having heard the chemistry the two had whilst recording the album, Dr. Dre suggested they make a group. The two went on to feature on Doggystyle and various features and soundtracks as Tha Dogg Pound. Between 1993-1994, the group assisted Hammer on his The Funky Headhunter album (such as the song "Sleepin' on a Master Plan" and others), along with Suge Knight and the Whole 9. In 1995, they released their debut album Dogg Food under Death Row Records. The album debuted #1 on the Billboard 200 and went on to reach 2x platinum status. It was quite a success. "Let's Play House" was the biggest hit, breaking into the Top 50 of the Hot 100, while "New York, New York" was an MTV favorite; in the video for the latter, Kurupt, Daz, and Snoop stomped Godzilla-like around the Big Apple, taunting their East Coast rivals. In the October that followed, towards the end of the same year, Tupac Shakur had been bailed out of jail by Death Row's Suge Knight in exchange for releasing his following four albums on Death Row Records. In 1996, Tha Dogg Pound were featured on 2Pac's widely acclaimed Death Row Records debut album All Eyez on Me with Kurupt featured in "Got My Mind Made Up" and "Check Out Time" and Daz Dillinger producing the hit songs "2 Of Amerikaz Most Wanted", "Ambitionz Az A Ridah", and "I Ain't Mad At Cha" among other tracks which solidified his status as a talented and successful producer. In early September of the same year, Shakur was murdered in Las Vegas, Nevada. Kurupt and Daz were deeply affected by this and struggled to release anything after Shakur's passing. 7 years later in a 2003 interview, Daz stated that he now believed Suge Knight was responsible for Shakur's murder. They remained active thereafter, rapping on Snoop's Tha Doggfather in 1996. Tha Dogg Pound was an integral part of the Death Row Records empire, which cast a tall shadow over rap music in the early to mid-'90s. CANNOTANSWER
|
they released their debut album Dogg Food under Death Row Records.
|
Tha Dogg Pound is an American hip hop duo made up of rappers Kurupt and Daz Dillinger. They were signed to Death Row Records in their early careers and were key to the label's success.
Kurupt and Daz went on to release solo albums starting in 1998. They eventually left the crumbling Death Row Records in 1999. Daz left due to long-lasting internal struggles on the label after friend and labelmate Tupac Shakur's murder in 1996. Kurupt started Antra Records, while Daz and Soopafly started D.P.G. Recordz. In 2002 a feud arose between the two when Kurupt decided to sign back with Death Row Records, upsetting everyone involved with the group. His awaited Death Row release Against Tha Grain had been postponed several times while Kurupt was on the label, later being released in August 2005, after he was off. In January 2005, Daz made another solo album release titled Tha Dogg Pound Gangsta LP. Tha Dogg Pound then got back together as a group and released Dillinger & Young Gotti II in November 2005. In 2006, Snoop Dogg executive produced released their official reunion album Cali Iz Active.
History
Death Row years (1992–1998)
Before The Chronic album came out, Kurupt and Daz were solo artists, however having heard the chemistry they had whilst recording the album, Dr. Dre suggested they make a group. The two went on to feature on Doggystyle and various features and soundtracks as Tha Dogg Pound.
Between 1993 and 1994, the group assisted Hammer on his The Funky Headhunter album (such as the song "Sleepin' on a Master Plan" and others), along with Suge Knight and the Whole 9.
In 1995, they released their debut album Dogg Food under Death Row Records. The album debuted #1 on the Billboard 200 and went on to reach twice platinum status. "Let's Play House" was the biggest hit, breaking into the Top 50 of the Billboard Hot 100, while "New York, New York" was an MTV favorite; in the video for the latter, Daz and Snoop stomped Godzilla-like around the Big Apple, taunting their East Coast rivals. In the October that followed, towards the end of the same year, Tupac Shakur had been bailed out of jail by Death Row's Suge Knight in exchange for releasing his following four albums on Death Row Records.
In 1996, Tha Dogg Pound were featured on 2Pac's Death Row Records debut album All Eyez on Me with Kurupt featured in "Got My Mind Made Up" and "Check Out Time" and Daz Dillinger producing the hit songs "2 Of Amerikaz Most Wanted", "Ambitionz Az A Ridah", and "I Ain't Mad At Cha". In early September of the same year, Shakur was murdered in Las Vegas, Nevada. Kurupt and Daz were deeply affected by this and struggled to release anything after Shakur's passing. Seven years later in a 2003 interview, Daz stated that he now believed Suge Knight was responsible for Shakur's murder. They remained active thereafter, rapping on Snoop's Tha Doggfather in 1996.
Kurupt and Daz leave Death Row (1999–2001)
In 1997, Kurupt left Death Row but remained in Tha Dogg Pound. Kurupt released two solo albums in 1998 (Kuruption!) and 1999 (Tha Streetz Iz a Mutha) that had Daz Dillinger and the rest of DPG on them. However, in 1998 Daz was making noise of his own over at Death Row and released his only Death Row album (Retaliation, Revenge and Get Back) which went gold. Afterward, he made his own label called Mobstyle Muzik, in which he had his first taste of the independent scene. Mobstyle's first release Poppa Snoop Presents Mobstyle Muzik Volume 1 failed and Daz returned to Death Row. He later started up DPG Recordz along with Christopher "Big C-Style" Bowden through Death Row Records.
Daz also eventually parted ways with Death Row in late 1999 and released his first independent album R.A.W. in 2000. That was followed by the D.P.G. album from Tha Dogg Pound entitled Dillinger & Young Gotti. After Tha Dogg Pound's full departure from Death Row, Suge Knight claimed ownership of the name "Tha Dogg Pound" and any tracks recorded prior to them leaving. To avoid a legal battle at the time, Daz changed their marketing name to D.P.G. short for Dogg Pound Gangstaz. In 2001, Suge Knight released a Dogg Pound album entitled 2002, which consisted of unreleased Dogg Pound tracks. Soopafly's songs were featured on his 2001 solo album Dat Whoopty Woop.
External matters
Over the years Tha Dogg Pound had beef with Bone Thugs-N-Harmony, due to Death Row Records being embroiled in a feud with Eazy-E's Ruthless Records. Tha Dogg Pound made a diss towards The Bone Thugs, on the song "Dogg Pound Gangstaz", with Kurupt's line "Ain't got no love for no hoes in harmony." In response Layzie Bone shot back on the track "Shotz to tha Double Glock" with the line "Dogg Pound hoes it's on." "Krayzie Bone says "Gotta find these 'Row Hoes" in the song "Mo' Murda" off the East 99 album. The feud ended when Snoop Dogg and Kurupt were featured on Krayzie Bone's album Thug Mentality 1999 in the song "The War Iz On." Kurupt was featured on Flesh-N-Bone's song "Kurupted Flesh" on the 5th Dog Let Loose. Krayzie Bone also featured on Daz Dillinger's 2008 solo album Only on the Left Side on the song "Meal Ticket" and later on the song "Money Fold'N" on Tha Dogg Pound's 2009 album That Was Then, This Is Now.
Tha Dogg Pound were also involved in a feud with B.G. Knocc Out & Dresta. In response to Eazy-E's Real Muthaphukkin G's and Kokane & Cold 187um's "Don't Bite The Funk", Tha Dogg Pound along with Snoop Dogg made a track called "What Would You Do" with such lines as: "Fuck B.G. Knocc Out and every nigga down with him." Later B.G. Knocc Out & Dresta retaliated with the song "D.P.G. Killa", on their debut album Real Brothas. They have since squashed the beef and released a song called "Blaze It Up", as a bonus track on Tha Dogg Pound's Dogg Chit album.
The duo engaged in yet another conflict, the beef Suge and new signee 2Pac initiated against Bad Boy Entertainment's Puff Daddy and Notorious B.I.G.; Daz and Kurupt would expand the feud to include Capone-N-Noreaga, Tragedy Khadafi and Mobb Deep with their Snoop-assisted single "New York, New York."
In late 2002, Kurupt shocked the entire DPGC and fans alike, when he accepted the job of executive producer at Death Row Records. Daz, Soopafly, Snoop Dogg, and the rest of DPGC viewed this as betrayal and took many shots and dissed Kurupt harshly for making the move. Kurupt did the same claiming they all were wrong to have turned their backs on Death Row. They declared war between both camps and that he was not the one who changed, rather them.
The rap duo heavily dissed each other from 2003 to late 2004, both recording diss albums against each other. Daz took aim at Kurupt and Death Row with his single "U Ain't Shit" featuring Bad Azz and another song "I Don't Give a Fucc" which is sung over the beat to 50 Cent's In Da Club. Kurupt responded heavily with his Originals album which featured many disses throughout nearly every song, most notably the bonus track "Eat a Dicc (Fucc Daz)".
Reunion and Cali Iz Active (2005–2006)
The feud continued until early 2005 when Kurupt and Daz made a truce. The struggling Death Row Records failed to promote Kurupt's album Against Tha Grain and the duo began to feel remorse for one another. Kurupt left Death Row apparently along with their former Tha Dogg Pound alias and reunited with Daz. The duo started rapping together again and even made a new album together entitled Dillinger & Young Gotti II: Tha Saga Continuez. After The Western Conference in 2005 the two of them agreed to revitalize the DPGC by working together once again on an album with Snoop Dogg, Soopafly, Nate Dogg, Warren G, RBX, Lady of Rage and Lil' ½ Dead with Snoop taking over the producing and distributing tasks for it.
Tha Dogg Pound then released a joint venture reunion comeback project the next year in 2006 called Cali Iz Active under the aegis of Snoop Dogg's Doggystyle Records with the main single "Cali Iz Active" featuring Snoop Dogg and a wide range of new producers throughout the album.
New releases and future projects (2007–present)
Tha Dogg Pound released the album Dogg Chit independently on March 27, 2007, touting it as a sequel to their debut. In August 2007 it was announced that the duo was in the process of signing to Cash Money Records; their next album was announced as Westcoast Aftershocc. The pair released the singles "Ch-Ching" and "Mystic River" from the album, but when the deal stalled, they postponed the project in favor of a separate album, 100 Wayz. Tha Dogg Pound began putting out singles for the latter album as early as 2008, releasing "Cheat" featuring Pharrell and following up with "They Don't Want It" featuring Soopafly, and "Get My Drink on & My Smoke On." Although 100 Wayz was expected for release that year, it was postponed due to a dispute with Koch Records head Alan Grunblatt; instead, they released the album That Was Then, This is Now, which included the singles originally intended for 100 Wayz, in late 2009.
After putting out the compilation album Keep on Ridin in May 2010, 100 Wayz finally saw release in July of that year. Since then, the duo announced several projects, including Dillinger & Young Gotti III: Get Paid, a collaboration album with Pete Rock, and a re-announcement of the album Westcoast Aftershocc for 2011, as well as several solo projects from Kurupt working with various producers, from DJ Premier and Pete Rock to Fredwreck. However, their only releases of late have been Kurupt's solo album Street Lights and two projects from Daz Dillinger.
Recently, tha Dogg Pound has been involved in various side projects; Kurupt announced the formation of supergroup 1st Generation, made up of himself, King Tee, Sir Jinx, Gangsta of tha Comradz and MC Eiht and producer Tha Chill of Compton's Most Wanted. Both Kurupt and Daz have formed a supergroup called the N'Matez consisting of themselves, the Lady of Rage, and RBX. In December 2011, Tha Dogg Pound put out the single "Forever in a Day," featuring Snoop Dogg, although they have not announced whether it is attached to a specific project. A few days later, the duo announced that their next group album will be entitled Alumni and is set to be executive produced by Snoop Dogg and Dr. Dre, who will be co-producing and/or mixing several of the beats. The album will mark the first time a member of Tha Dogg Pound has collaborated with Dr. Dre since Kurupt's appearances on the producer's album 2001, and the first time Dre has collaborated with Tha Dogg Pound as a duo since he mixed their debut album, Dogg Food. On December 2, 2012, Tha Dogg Pound released a collaboration mixtape with Snoop Dogg titled That's My Work Vol. 1.
In 2021, Tha Dogg Pound is prepping to released their "Dogg Food II" album with the lead single "Let's Roll" debuted in late 2020. Their follow-up single "Nice & Slow" was released in July 2021 and featured Snoop Dogg.
D.P.G.C.
An extended family, referred to as DPGC (short for Dogg Pound Gangsta Clicc), is made up of Tha Dogg Pound, Snoop Dogg, and various affiliated artists and groups from both the Death Row Records, G-Funk Records, DPG Recordz, Antra Music Group and Dogg House Records eras, including Nate Dogg, Warren G, Lil' ½ Dead, Tha Eastsidaz, LBC Crew, Bad Azz, Tray Dee, Soopafly, RBX, Lady of Rage, Al B. Sure!, Crystal DPG and others. The group made its debut with the LP, DPGC: The Remix released in 2002.
Discography
Studio albums
Dogg Food (1995)
Dillinger & Young Gotti (2001)
Dillinger & Young Gotti II: Tha Saga Continuez... (2005)
Cali Iz Active (2006)
Dogg Chit (2007)
That Was Then, This Is Now (2009)
100 Wayz (2010)
DPG 4 Life (2021)
Awards
Grammy Award nominations
Tha Dogg Pound has been nominated for one Grammy Award but has not yet won an award .
References
External links
New Dogg Pound, "Dogg Chit", Album On The Way
Hip hop groups from California
Death Row Records artists
Musical groups established in 1992
1992 establishments in California
Musical groups disestablished in 2002
Musical groups reestablished in 2005
Musical groups from Los Angeles
Snoop Dogg
American musical duos
Hip hop duos
African-American musical groups
Gangsta rap groups
West Coast hip hop groups
| true |
[
"Delmar Drew Arnaud (born May 25, 1973), known professionally as Daz Dillinger (formerly Dat Nigga Daz and commonly Daz), is an American rapper and record producer. In the 1990s at Death Row Records, aided the catapult of West Coast rap and gangsta rap into the mainstream. He is one half of the rap duo tha Dogg Pound, along with Kurupt.\n\nDaz learned production from Dr. Dre in working on Dre's debut solo album, The Chronic, in 1992. Daz did more on Snoop Dogg's debut solo album Doggystyle in 1993, and secured his production standing on 2Pac's All Eyez on Me in 1996. Since leaving Death Row around 2000, Daz has focused on his own releases through his D.P.G. Recordz.\n\nCareer\n\nStart at Death Row \nA younger cousin of rapper Snoop Dogg, likewise from Long Beach, California, Daz began his career at about age 19 with Death Row Records, cofounded by Marion \"Suge\" Knight, where Daz learned music production from Dr. Dre. Signed to the label at age 19, both producing and rapping, Daz worked with Dr. Dre on West Coast rap's breakthrough album, The Chronic. Meanwhile, befriending rapper Kurupt, who also rapped on The Chronic, the two formed a rap duo, Tha Dogg Pound.\n\nThe Dogg Pound appeared on Snoop Dogg's debut solo album, too, the cultural landmark Doggystyle, released as Death Row's second album on November 23, 1993. Daz, in particular, was more involved in Doggystyle's production. Daz was featured on one track and received co-production credit on two, \"Serial Killa\" and \"For All My Niggaz & Bitches\", although Daz may have contributed more production work, not officially credited. In the meantime, Daz produced tracks for the movie soundtracks Above The Rim as well as Murder Was the Case.\n\nIn their single \"What Would You Do?\", Tha Dogg Pound sided with Dr. Dre against his former N.W.A groupmate Eazy-E and his Ruthless Records. Later, amid the rap genre's East Coast–West Coast rivalry then ongoing and escalating, Tha Dogg Pound jumped in for the West, specifically the Los Angeles area, by releasing the single \"New York, New York\", featuring Snoop, which slighted the city. (Responding, the rap duo Capone-N-Noreaga, from the city's borough Queens, released \"L.A., L.A.\", featuring Mobb Deep and Tragedy Khadafi.) Subsequently, Tha Dogg Pound's debut album, Dogg Food, met rave reviews and platinum sales.\n\nGrowth at Death Row Records \nIn 1996, as both the East–West rap rivalry and Suge Knight's violent tactics in house intensified, Death Row's lead producer Dr. Dre increasingly distanced himself from the studio's toxic atmosphere. Starting with Tha Dogg Pound's debut album Dogg Food, produced by Daz, Dre ceased producing entire albums with Death Row. Eventually working there only with 2Pac, Dre produced just three tracks—\"California Love\", \"California Love (Remix)\", and \"Can't C Me\"—on 2Pac's first Death Row album, All Eyez on Me.\n\nDaz, on the other hand, produced five songs on All Eyez on Me—\"Ambitionz Az A Ridah\", \"2 of Amerikaz Most Wanted\", \"I Ain't Mad At Cha\", \"Skandalouz\", and \"Got My Mind Made Up\"—which rapidly became 2Pac's most commercially successful album, solidifying Daz's standing as a producer. Effectively Death Row's lead producer by then, Daz also helped on Snoop Dogg's second album, Tha Doggfather, which recorded from February to October 1996. In March, Dre left Death Row to form his own record label, Aftermath Entertainment,.\n\nThe murder of 2Pac in September 1996 and Suge's parole violations incurring his prison sentence of nine years in 1997 spurred an exodus of artists from Death Row. From 1997 to early 1998, Nate Dogg, Snoop, and Kurupt left Death Row, leaving the label's only remaining platinum seller as Tha Dogg Pound member Daz, who meanwhile contributed production to Nate Dogg's debut studio album, released by his own newly formed label, to the Lady of Rage's only studio album, and to the Gridlock'd soundtrack. Soon, Death Row released Daz's debut solo album, Retaliation, Revenge and Get Back. Even after he left Death Row nearing 2000, his production appeared on the unauthorized Snoop compilation Dead Man Walkin', leaked by Suge Knight in 2001.\n\nD.P.G. Recordz and indie releases \nAfter leaving Death Row Records, Daz would produce for artists like Kurupt, Soopafly, and B-Legit. In 2000, Daz's second solo album, R.A.W., was released by his own label, D.P.G. Recordz. In the following years, Daz has continued to focus on his own, indie releases and sales.\n\nIn 2001, while Death Row still owned the duo's original name, Daz and Kurupt reappeared, if under the name D.P.G., with a second album, Dillinger & Young Gotti, which received mixed reviews. But Kurupt soon signed with Death Row again, prompting Daz to repeatedly smear him in songs and interviews.\n\nWhile feuding with Kurupt from 2002 to 2005—as in Daz's songs \"Catch U in the Club\" and \"U Ain't Shit\", plus his skit \"A Message to Ricardo Brown\", drawing Kurupt's response \"No Vaseline Part 2\"—Daz released a few solo albums, if one with a makeshift group, DPGC, including Snoop Dogg, Soopafly, and Bad Azz.\n\nIn 2005, Snoop hosted a West Coast unity event, where Daz and Kurupt reconciled. While gaining rights to their original name, Tha Dogg Pound, Kurupt left Death Row again, and Daz closed his brief time at Jermaine Dupri's So So Def Recordings. Over the years since then, Tha Dogg Pound has released a few more albums.\n\nIn 2020 Daz united with Queens MC Capone one half of Capone-N-Norega for a collaborative album entitled \"Guidelines\" under Empire Distribution\n\nDiscography\n\nSolo studio albums \n Retaliation, Revenge and Get Back (1998)\n R.A.W. (2000)\n This Is the Life I Lead (2002)\n DPGC: U Know What I'm Throwin' Up (2003)\n I Got Love in These Streetz (2004)\n Tha Dogg Pound Gangsta LP (2005)\n Gangsta Crunk (2005)\n So So Gangsta (2006)\n Gangsta Party (2007)\n Only on the Left Side (2008)\n Public Enemiez (2009)\n Matter of Dayz (2010)\n D.A.Z. (2011)\n Witit Witit (2012)\n Weed Money (2014)\n Dazamataz (2018)\n Smoke Me Out (2018)\n\nCollaboration albums \n Long Beach 2 Fillmoe with JT the Bigga Figga (2001)\n Game for Sale with JT the Bigga Figga (2001)\n Don't Go 2 Sleep with Makaveli (2001)\n Southwest with Nuwine (2003)\n Get That Paper with Fratthouse (2009)\n West Coast Gangsta Shit with WC (2013)\n Cuzznz with Snoop Dogg (2016)\n A.T.L.A. with Big Gipp (2020)\nGuidelines with Capone (2020)\n\nAwards \n Nominated in 1996 Grammy Award for Best Rap Performance by a Duo or Group (with Kurupt): \"What Would You Do\"\n\nReferences\n\nExternal links \n Instagram\n \n\n1973 births\nLiving people\n21st-century American male musicians\n21st-century American rappers\nAfrican-American male rappers\nAfrican-American record producers\nAmerican hip hop record producers\nCrips\nDeath Row Records artists\nMNRK Music Group artists\nGangsta rappers\nG-funk artists\nMusicians from Long Beach, California\nPlace of birth missing (living people)\nPriority Records artists\nRappers from Los Angeles\nRecord producers from California\nSo So Def Recordings artists\nVirgin Records artists\nWest Coast hip hop musicians",
"Against tha Grain – The E.P. is an EP bootleg compilation that consists of the songs that Kurupt and Koch Records removed from Against tha Grain, as well as other filler tracks that had nothing to do with the original release. The diss records were recorded in 2003-'04 however they were not released because after making up with Snoop Dogg and the rest of Tha Dogg Pound, Kurupt did not want to see any backlash for his previously recorded diss songs for Death Row Records and since he had just made a deal with Koch to release Tha Dogg Pound's reunion album, they removed the songs from the retail version of Against Tha Grain. A group of Death Row and 2Pac fanatics who operated under the name \"For The People Entertainment\" were able to purchase these tracks from someone who had access to them. They were released online in digital format, and Kurupt has gone on record saying it was in poor taste to do, and just done to cause drama.\n\nTrack listing\n\nReferences\n\n2007 EPs\nKurupt albums\nHip hop EPs\nE1 Music EPs"
] |
[
"Tha Dogg Pound",
"Death Row years (1991-1998)",
"What did Tha Dogg Pound do in the Death Row years?",
"they released their debut album Dogg Food under Death Row Records."
] |
C_33681fda5e1b4eb3971dd629c6afa4cc_1
|
Did they have a top song that was a hit on the album?
| 2 |
Did Tha Dogg Pound have a top song that was a hit on the album Dogg Food?
|
Tha Dogg Pound
|
Before The Chronic album came out, Kurupt & Daz were solo artists, however having heard the chemistry the two had whilst recording the album, Dr. Dre suggested they make a group. The two went on to feature on Doggystyle and various features and soundtracks as Tha Dogg Pound. Between 1993-1994, the group assisted Hammer on his The Funky Headhunter album (such as the song "Sleepin' on a Master Plan" and others), along with Suge Knight and the Whole 9. In 1995, they released their debut album Dogg Food under Death Row Records. The album debuted #1 on the Billboard 200 and went on to reach 2x platinum status. It was quite a success. "Let's Play House" was the biggest hit, breaking into the Top 50 of the Hot 100, while "New York, New York" was an MTV favorite; in the video for the latter, Kurupt, Daz, and Snoop stomped Godzilla-like around the Big Apple, taunting their East Coast rivals. In the October that followed, towards the end of the same year, Tupac Shakur had been bailed out of jail by Death Row's Suge Knight in exchange for releasing his following four albums on Death Row Records. In 1996, Tha Dogg Pound were featured on 2Pac's widely acclaimed Death Row Records debut album All Eyez on Me with Kurupt featured in "Got My Mind Made Up" and "Check Out Time" and Daz Dillinger producing the hit songs "2 Of Amerikaz Most Wanted", "Ambitionz Az A Ridah", and "I Ain't Mad At Cha" among other tracks which solidified his status as a talented and successful producer. In early September of the same year, Shakur was murdered in Las Vegas, Nevada. Kurupt and Daz were deeply affected by this and struggled to release anything after Shakur's passing. 7 years later in a 2003 interview, Daz stated that he now believed Suge Knight was responsible for Shakur's murder. They remained active thereafter, rapping on Snoop's Tha Doggfather in 1996. Tha Dogg Pound was an integral part of the Death Row Records empire, which cast a tall shadow over rap music in the early to mid-'90s. CANNOTANSWER
|
"Let's Play House" was the biggest hit,
|
Tha Dogg Pound is an American hip hop duo made up of rappers Kurupt and Daz Dillinger. They were signed to Death Row Records in their early careers and were key to the label's success.
Kurupt and Daz went on to release solo albums starting in 1998. They eventually left the crumbling Death Row Records in 1999. Daz left due to long-lasting internal struggles on the label after friend and labelmate Tupac Shakur's murder in 1996. Kurupt started Antra Records, while Daz and Soopafly started D.P.G. Recordz. In 2002 a feud arose between the two when Kurupt decided to sign back with Death Row Records, upsetting everyone involved with the group. His awaited Death Row release Against Tha Grain had been postponed several times while Kurupt was on the label, later being released in August 2005, after he was off. In January 2005, Daz made another solo album release titled Tha Dogg Pound Gangsta LP. Tha Dogg Pound then got back together as a group and released Dillinger & Young Gotti II in November 2005. In 2006, Snoop Dogg executive produced released their official reunion album Cali Iz Active.
History
Death Row years (1992–1998)
Before The Chronic album came out, Kurupt and Daz were solo artists, however having heard the chemistry they had whilst recording the album, Dr. Dre suggested they make a group. The two went on to feature on Doggystyle and various features and soundtracks as Tha Dogg Pound.
Between 1993 and 1994, the group assisted Hammer on his The Funky Headhunter album (such as the song "Sleepin' on a Master Plan" and others), along with Suge Knight and the Whole 9.
In 1995, they released their debut album Dogg Food under Death Row Records. The album debuted #1 on the Billboard 200 and went on to reach twice platinum status. "Let's Play House" was the biggest hit, breaking into the Top 50 of the Billboard Hot 100, while "New York, New York" was an MTV favorite; in the video for the latter, Daz and Snoop stomped Godzilla-like around the Big Apple, taunting their East Coast rivals. In the October that followed, towards the end of the same year, Tupac Shakur had been bailed out of jail by Death Row's Suge Knight in exchange for releasing his following four albums on Death Row Records.
In 1996, Tha Dogg Pound were featured on 2Pac's Death Row Records debut album All Eyez on Me with Kurupt featured in "Got My Mind Made Up" and "Check Out Time" and Daz Dillinger producing the hit songs "2 Of Amerikaz Most Wanted", "Ambitionz Az A Ridah", and "I Ain't Mad At Cha". In early September of the same year, Shakur was murdered in Las Vegas, Nevada. Kurupt and Daz were deeply affected by this and struggled to release anything after Shakur's passing. Seven years later in a 2003 interview, Daz stated that he now believed Suge Knight was responsible for Shakur's murder. They remained active thereafter, rapping on Snoop's Tha Doggfather in 1996.
Kurupt and Daz leave Death Row (1999–2001)
In 1997, Kurupt left Death Row but remained in Tha Dogg Pound. Kurupt released two solo albums in 1998 (Kuruption!) and 1999 (Tha Streetz Iz a Mutha) that had Daz Dillinger and the rest of DPG on them. However, in 1998 Daz was making noise of his own over at Death Row and released his only Death Row album (Retaliation, Revenge and Get Back) which went gold. Afterward, he made his own label called Mobstyle Muzik, in which he had his first taste of the independent scene. Mobstyle's first release Poppa Snoop Presents Mobstyle Muzik Volume 1 failed and Daz returned to Death Row. He later started up DPG Recordz along with Christopher "Big C-Style" Bowden through Death Row Records.
Daz also eventually parted ways with Death Row in late 1999 and released his first independent album R.A.W. in 2000. That was followed by the D.P.G. album from Tha Dogg Pound entitled Dillinger & Young Gotti. After Tha Dogg Pound's full departure from Death Row, Suge Knight claimed ownership of the name "Tha Dogg Pound" and any tracks recorded prior to them leaving. To avoid a legal battle at the time, Daz changed their marketing name to D.P.G. short for Dogg Pound Gangstaz. In 2001, Suge Knight released a Dogg Pound album entitled 2002, which consisted of unreleased Dogg Pound tracks. Soopafly's songs were featured on his 2001 solo album Dat Whoopty Woop.
External matters
Over the years Tha Dogg Pound had beef with Bone Thugs-N-Harmony, due to Death Row Records being embroiled in a feud with Eazy-E's Ruthless Records. Tha Dogg Pound made a diss towards The Bone Thugs, on the song "Dogg Pound Gangstaz", with Kurupt's line "Ain't got no love for no hoes in harmony." In response Layzie Bone shot back on the track "Shotz to tha Double Glock" with the line "Dogg Pound hoes it's on." "Krayzie Bone says "Gotta find these 'Row Hoes" in the song "Mo' Murda" off the East 99 album. The feud ended when Snoop Dogg and Kurupt were featured on Krayzie Bone's album Thug Mentality 1999 in the song "The War Iz On." Kurupt was featured on Flesh-N-Bone's song "Kurupted Flesh" on the 5th Dog Let Loose. Krayzie Bone also featured on Daz Dillinger's 2008 solo album Only on the Left Side on the song "Meal Ticket" and later on the song "Money Fold'N" on Tha Dogg Pound's 2009 album That Was Then, This Is Now.
Tha Dogg Pound were also involved in a feud with B.G. Knocc Out & Dresta. In response to Eazy-E's Real Muthaphukkin G's and Kokane & Cold 187um's "Don't Bite The Funk", Tha Dogg Pound along with Snoop Dogg made a track called "What Would You Do" with such lines as: "Fuck B.G. Knocc Out and every nigga down with him." Later B.G. Knocc Out & Dresta retaliated with the song "D.P.G. Killa", on their debut album Real Brothas. They have since squashed the beef and released a song called "Blaze It Up", as a bonus track on Tha Dogg Pound's Dogg Chit album.
The duo engaged in yet another conflict, the beef Suge and new signee 2Pac initiated against Bad Boy Entertainment's Puff Daddy and Notorious B.I.G.; Daz and Kurupt would expand the feud to include Capone-N-Noreaga, Tragedy Khadafi and Mobb Deep with their Snoop-assisted single "New York, New York."
In late 2002, Kurupt shocked the entire DPGC and fans alike, when he accepted the job of executive producer at Death Row Records. Daz, Soopafly, Snoop Dogg, and the rest of DPGC viewed this as betrayal and took many shots and dissed Kurupt harshly for making the move. Kurupt did the same claiming they all were wrong to have turned their backs on Death Row. They declared war between both camps and that he was not the one who changed, rather them.
The rap duo heavily dissed each other from 2003 to late 2004, both recording diss albums against each other. Daz took aim at Kurupt and Death Row with his single "U Ain't Shit" featuring Bad Azz and another song "I Don't Give a Fucc" which is sung over the beat to 50 Cent's In Da Club. Kurupt responded heavily with his Originals album which featured many disses throughout nearly every song, most notably the bonus track "Eat a Dicc (Fucc Daz)".
Reunion and Cali Iz Active (2005–2006)
The feud continued until early 2005 when Kurupt and Daz made a truce. The struggling Death Row Records failed to promote Kurupt's album Against Tha Grain and the duo began to feel remorse for one another. Kurupt left Death Row apparently along with their former Tha Dogg Pound alias and reunited with Daz. The duo started rapping together again and even made a new album together entitled Dillinger & Young Gotti II: Tha Saga Continuez. After The Western Conference in 2005 the two of them agreed to revitalize the DPGC by working together once again on an album with Snoop Dogg, Soopafly, Nate Dogg, Warren G, RBX, Lady of Rage and Lil' ½ Dead with Snoop taking over the producing and distributing tasks for it.
Tha Dogg Pound then released a joint venture reunion comeback project the next year in 2006 called Cali Iz Active under the aegis of Snoop Dogg's Doggystyle Records with the main single "Cali Iz Active" featuring Snoop Dogg and a wide range of new producers throughout the album.
New releases and future projects (2007–present)
Tha Dogg Pound released the album Dogg Chit independently on March 27, 2007, touting it as a sequel to their debut. In August 2007 it was announced that the duo was in the process of signing to Cash Money Records; their next album was announced as Westcoast Aftershocc. The pair released the singles "Ch-Ching" and "Mystic River" from the album, but when the deal stalled, they postponed the project in favor of a separate album, 100 Wayz. Tha Dogg Pound began putting out singles for the latter album as early as 2008, releasing "Cheat" featuring Pharrell and following up with "They Don't Want It" featuring Soopafly, and "Get My Drink on & My Smoke On." Although 100 Wayz was expected for release that year, it was postponed due to a dispute with Koch Records head Alan Grunblatt; instead, they released the album That Was Then, This is Now, which included the singles originally intended for 100 Wayz, in late 2009.
After putting out the compilation album Keep on Ridin in May 2010, 100 Wayz finally saw release in July of that year. Since then, the duo announced several projects, including Dillinger & Young Gotti III: Get Paid, a collaboration album with Pete Rock, and a re-announcement of the album Westcoast Aftershocc for 2011, as well as several solo projects from Kurupt working with various producers, from DJ Premier and Pete Rock to Fredwreck. However, their only releases of late have been Kurupt's solo album Street Lights and two projects from Daz Dillinger.
Recently, tha Dogg Pound has been involved in various side projects; Kurupt announced the formation of supergroup 1st Generation, made up of himself, King Tee, Sir Jinx, Gangsta of tha Comradz and MC Eiht and producer Tha Chill of Compton's Most Wanted. Both Kurupt and Daz have formed a supergroup called the N'Matez consisting of themselves, the Lady of Rage, and RBX. In December 2011, Tha Dogg Pound put out the single "Forever in a Day," featuring Snoop Dogg, although they have not announced whether it is attached to a specific project. A few days later, the duo announced that their next group album will be entitled Alumni and is set to be executive produced by Snoop Dogg and Dr. Dre, who will be co-producing and/or mixing several of the beats. The album will mark the first time a member of Tha Dogg Pound has collaborated with Dr. Dre since Kurupt's appearances on the producer's album 2001, and the first time Dre has collaborated with Tha Dogg Pound as a duo since he mixed their debut album, Dogg Food. On December 2, 2012, Tha Dogg Pound released a collaboration mixtape with Snoop Dogg titled That's My Work Vol. 1.
In 2021, Tha Dogg Pound is prepping to released their "Dogg Food II" album with the lead single "Let's Roll" debuted in late 2020. Their follow-up single "Nice & Slow" was released in July 2021 and featured Snoop Dogg.
D.P.G.C.
An extended family, referred to as DPGC (short for Dogg Pound Gangsta Clicc), is made up of Tha Dogg Pound, Snoop Dogg, and various affiliated artists and groups from both the Death Row Records, G-Funk Records, DPG Recordz, Antra Music Group and Dogg House Records eras, including Nate Dogg, Warren G, Lil' ½ Dead, Tha Eastsidaz, LBC Crew, Bad Azz, Tray Dee, Soopafly, RBX, Lady of Rage, Al B. Sure!, Crystal DPG and others. The group made its debut with the LP, DPGC: The Remix released in 2002.
Discography
Studio albums
Dogg Food (1995)
Dillinger & Young Gotti (2001)
Dillinger & Young Gotti II: Tha Saga Continuez... (2005)
Cali Iz Active (2006)
Dogg Chit (2007)
That Was Then, This Is Now (2009)
100 Wayz (2010)
DPG 4 Life (2021)
Awards
Grammy Award nominations
Tha Dogg Pound has been nominated for one Grammy Award but has not yet won an award .
References
External links
New Dogg Pound, "Dogg Chit", Album On The Way
Hip hop groups from California
Death Row Records artists
Musical groups established in 1992
1992 establishments in California
Musical groups disestablished in 2002
Musical groups reestablished in 2005
Musical groups from Los Angeles
Snoop Dogg
American musical duos
Hip hop duos
African-American musical groups
Gangsta rap groups
West Coast hip hop groups
| true |
[
"\"The Different Story (World of Lust and Crime)\" is a song by Peter Schilling from the album of the same name. The song was produced by Michael Cretu, and was released on 25 October 1988.\n\nThe song contains female vocals by Susanne Müller-Pi along with boisterous singing from Schilling himself.\n\nCharts \nWhile the video was a top ten pop hit in Sweden, the album from which it came did not fare as well likely due to the previously released tracks on the album. The song did however, reach No. 16 on the Billboard Dance chart and was his most recent pop hit in the United States, reaching No. 61 on the Hot 100 in 1989.\n\nVideo \nThe video portrays Schilling on horseback, with Müller-Pi dancing and singing in a white dress.\n\nReferences \n\n1989 singles\nPeter Schilling songs\n1989 songs",
"\"Living in a Dream\" is the first single from Canadian alternative rock band Finger Eleven's sixth album, Life Turns Electric. It was released in August 2010. This song, along with \"Paralyzer\" from their last album, has a \"dance-rock\" feel to the track.\n\nThe song failed to be as big a hit internationally as the last album's lead single, \"Paralyzer\" was, failing to hit the Billboard Hot 100 in the United States and reaching the top five on any rock format.\n\nThe song was used as the official theme song for the 2011 WWE Royal Rumble event that is produced by WWE.\n\nMusic video\nThe music video released on October 21, 2010. It shows the band performing in a dark room.\n\nChart performance\n\"Living In a Dream\" did moderately well on the rock tracks, although underperforming the lead single \"Paralyzer\" from their previous album Them vs. You vs. Me. In the U.S., the single had strong debuts on both the Billboard Hot Mainstream Rock Tracks and Alternative Songs. \"Living in a Dream\" eventually become a top 10 hit on the Hot Mainstream Rock Tracks and a top 15 hit on the Alternative Songs chart. The single failed to chart on the Hot 100, though. The song has also gone top 50 in Canada.\n\nCharts\n\nReferences\n\n2010 singles\nFinger Eleven songs\n2010 songs\nSongs written by Gregg Wattenberg\nWind-up Records singles"
] |
[
"Tha Dogg Pound",
"Death Row years (1991-1998)",
"What did Tha Dogg Pound do in the Death Row years?",
"they released their debut album Dogg Food under Death Row Records.",
"Did they have a top song that was a hit on the album?",
"\"Let's Play House\" was the biggest hit,"
] |
C_33681fda5e1b4eb3971dd629c6afa4cc_1
|
How well did the album do on the charts?
| 3 |
How well did the album Dogg Food do on the charts?
|
Tha Dogg Pound
|
Before The Chronic album came out, Kurupt & Daz were solo artists, however having heard the chemistry the two had whilst recording the album, Dr. Dre suggested they make a group. The two went on to feature on Doggystyle and various features and soundtracks as Tha Dogg Pound. Between 1993-1994, the group assisted Hammer on his The Funky Headhunter album (such as the song "Sleepin' on a Master Plan" and others), along with Suge Knight and the Whole 9. In 1995, they released their debut album Dogg Food under Death Row Records. The album debuted #1 on the Billboard 200 and went on to reach 2x platinum status. It was quite a success. "Let's Play House" was the biggest hit, breaking into the Top 50 of the Hot 100, while "New York, New York" was an MTV favorite; in the video for the latter, Kurupt, Daz, and Snoop stomped Godzilla-like around the Big Apple, taunting their East Coast rivals. In the October that followed, towards the end of the same year, Tupac Shakur had been bailed out of jail by Death Row's Suge Knight in exchange for releasing his following four albums on Death Row Records. In 1996, Tha Dogg Pound were featured on 2Pac's widely acclaimed Death Row Records debut album All Eyez on Me with Kurupt featured in "Got My Mind Made Up" and "Check Out Time" and Daz Dillinger producing the hit songs "2 Of Amerikaz Most Wanted", "Ambitionz Az A Ridah", and "I Ain't Mad At Cha" among other tracks which solidified his status as a talented and successful producer. In early September of the same year, Shakur was murdered in Las Vegas, Nevada. Kurupt and Daz were deeply affected by this and struggled to release anything after Shakur's passing. 7 years later in a 2003 interview, Daz stated that he now believed Suge Knight was responsible for Shakur's murder. They remained active thereafter, rapping on Snoop's Tha Doggfather in 1996. Tha Dogg Pound was an integral part of the Death Row Records empire, which cast a tall shadow over rap music in the early to mid-'90s. CANNOTANSWER
|
breaking into the Top 50 of the Hot 100,
|
Tha Dogg Pound is an American hip hop duo made up of rappers Kurupt and Daz Dillinger. They were signed to Death Row Records in their early careers and were key to the label's success.
Kurupt and Daz went on to release solo albums starting in 1998. They eventually left the crumbling Death Row Records in 1999. Daz left due to long-lasting internal struggles on the label after friend and labelmate Tupac Shakur's murder in 1996. Kurupt started Antra Records, while Daz and Soopafly started D.P.G. Recordz. In 2002 a feud arose between the two when Kurupt decided to sign back with Death Row Records, upsetting everyone involved with the group. His awaited Death Row release Against Tha Grain had been postponed several times while Kurupt was on the label, later being released in August 2005, after he was off. In January 2005, Daz made another solo album release titled Tha Dogg Pound Gangsta LP. Tha Dogg Pound then got back together as a group and released Dillinger & Young Gotti II in November 2005. In 2006, Snoop Dogg executive produced released their official reunion album Cali Iz Active.
History
Death Row years (1992–1998)
Before The Chronic album came out, Kurupt and Daz were solo artists, however having heard the chemistry they had whilst recording the album, Dr. Dre suggested they make a group. The two went on to feature on Doggystyle and various features and soundtracks as Tha Dogg Pound.
Between 1993 and 1994, the group assisted Hammer on his The Funky Headhunter album (such as the song "Sleepin' on a Master Plan" and others), along with Suge Knight and the Whole 9.
In 1995, they released their debut album Dogg Food under Death Row Records. The album debuted #1 on the Billboard 200 and went on to reach twice platinum status. "Let's Play House" was the biggest hit, breaking into the Top 50 of the Billboard Hot 100, while "New York, New York" was an MTV favorite; in the video for the latter, Daz and Snoop stomped Godzilla-like around the Big Apple, taunting their East Coast rivals. In the October that followed, towards the end of the same year, Tupac Shakur had been bailed out of jail by Death Row's Suge Knight in exchange for releasing his following four albums on Death Row Records.
In 1996, Tha Dogg Pound were featured on 2Pac's Death Row Records debut album All Eyez on Me with Kurupt featured in "Got My Mind Made Up" and "Check Out Time" and Daz Dillinger producing the hit songs "2 Of Amerikaz Most Wanted", "Ambitionz Az A Ridah", and "I Ain't Mad At Cha". In early September of the same year, Shakur was murdered in Las Vegas, Nevada. Kurupt and Daz were deeply affected by this and struggled to release anything after Shakur's passing. Seven years later in a 2003 interview, Daz stated that he now believed Suge Knight was responsible for Shakur's murder. They remained active thereafter, rapping on Snoop's Tha Doggfather in 1996.
Kurupt and Daz leave Death Row (1999–2001)
In 1997, Kurupt left Death Row but remained in Tha Dogg Pound. Kurupt released two solo albums in 1998 (Kuruption!) and 1999 (Tha Streetz Iz a Mutha) that had Daz Dillinger and the rest of DPG on them. However, in 1998 Daz was making noise of his own over at Death Row and released his only Death Row album (Retaliation, Revenge and Get Back) which went gold. Afterward, he made his own label called Mobstyle Muzik, in which he had his first taste of the independent scene. Mobstyle's first release Poppa Snoop Presents Mobstyle Muzik Volume 1 failed and Daz returned to Death Row. He later started up DPG Recordz along with Christopher "Big C-Style" Bowden through Death Row Records.
Daz also eventually parted ways with Death Row in late 1999 and released his first independent album R.A.W. in 2000. That was followed by the D.P.G. album from Tha Dogg Pound entitled Dillinger & Young Gotti. After Tha Dogg Pound's full departure from Death Row, Suge Knight claimed ownership of the name "Tha Dogg Pound" and any tracks recorded prior to them leaving. To avoid a legal battle at the time, Daz changed their marketing name to D.P.G. short for Dogg Pound Gangstaz. In 2001, Suge Knight released a Dogg Pound album entitled 2002, which consisted of unreleased Dogg Pound tracks. Soopafly's songs were featured on his 2001 solo album Dat Whoopty Woop.
External matters
Over the years Tha Dogg Pound had beef with Bone Thugs-N-Harmony, due to Death Row Records being embroiled in a feud with Eazy-E's Ruthless Records. Tha Dogg Pound made a diss towards The Bone Thugs, on the song "Dogg Pound Gangstaz", with Kurupt's line "Ain't got no love for no hoes in harmony." In response Layzie Bone shot back on the track "Shotz to tha Double Glock" with the line "Dogg Pound hoes it's on." "Krayzie Bone says "Gotta find these 'Row Hoes" in the song "Mo' Murda" off the East 99 album. The feud ended when Snoop Dogg and Kurupt were featured on Krayzie Bone's album Thug Mentality 1999 in the song "The War Iz On." Kurupt was featured on Flesh-N-Bone's song "Kurupted Flesh" on the 5th Dog Let Loose. Krayzie Bone also featured on Daz Dillinger's 2008 solo album Only on the Left Side on the song "Meal Ticket" and later on the song "Money Fold'N" on Tha Dogg Pound's 2009 album That Was Then, This Is Now.
Tha Dogg Pound were also involved in a feud with B.G. Knocc Out & Dresta. In response to Eazy-E's Real Muthaphukkin G's and Kokane & Cold 187um's "Don't Bite The Funk", Tha Dogg Pound along with Snoop Dogg made a track called "What Would You Do" with such lines as: "Fuck B.G. Knocc Out and every nigga down with him." Later B.G. Knocc Out & Dresta retaliated with the song "D.P.G. Killa", on their debut album Real Brothas. They have since squashed the beef and released a song called "Blaze It Up", as a bonus track on Tha Dogg Pound's Dogg Chit album.
The duo engaged in yet another conflict, the beef Suge and new signee 2Pac initiated against Bad Boy Entertainment's Puff Daddy and Notorious B.I.G.; Daz and Kurupt would expand the feud to include Capone-N-Noreaga, Tragedy Khadafi and Mobb Deep with their Snoop-assisted single "New York, New York."
In late 2002, Kurupt shocked the entire DPGC and fans alike, when he accepted the job of executive producer at Death Row Records. Daz, Soopafly, Snoop Dogg, and the rest of DPGC viewed this as betrayal and took many shots and dissed Kurupt harshly for making the move. Kurupt did the same claiming they all were wrong to have turned their backs on Death Row. They declared war between both camps and that he was not the one who changed, rather them.
The rap duo heavily dissed each other from 2003 to late 2004, both recording diss albums against each other. Daz took aim at Kurupt and Death Row with his single "U Ain't Shit" featuring Bad Azz and another song "I Don't Give a Fucc" which is sung over the beat to 50 Cent's In Da Club. Kurupt responded heavily with his Originals album which featured many disses throughout nearly every song, most notably the bonus track "Eat a Dicc (Fucc Daz)".
Reunion and Cali Iz Active (2005–2006)
The feud continued until early 2005 when Kurupt and Daz made a truce. The struggling Death Row Records failed to promote Kurupt's album Against Tha Grain and the duo began to feel remorse for one another. Kurupt left Death Row apparently along with their former Tha Dogg Pound alias and reunited with Daz. The duo started rapping together again and even made a new album together entitled Dillinger & Young Gotti II: Tha Saga Continuez. After The Western Conference in 2005 the two of them agreed to revitalize the DPGC by working together once again on an album with Snoop Dogg, Soopafly, Nate Dogg, Warren G, RBX, Lady of Rage and Lil' ½ Dead with Snoop taking over the producing and distributing tasks for it.
Tha Dogg Pound then released a joint venture reunion comeback project the next year in 2006 called Cali Iz Active under the aegis of Snoop Dogg's Doggystyle Records with the main single "Cali Iz Active" featuring Snoop Dogg and a wide range of new producers throughout the album.
New releases and future projects (2007–present)
Tha Dogg Pound released the album Dogg Chit independently on March 27, 2007, touting it as a sequel to their debut. In August 2007 it was announced that the duo was in the process of signing to Cash Money Records; their next album was announced as Westcoast Aftershocc. The pair released the singles "Ch-Ching" and "Mystic River" from the album, but when the deal stalled, they postponed the project in favor of a separate album, 100 Wayz. Tha Dogg Pound began putting out singles for the latter album as early as 2008, releasing "Cheat" featuring Pharrell and following up with "They Don't Want It" featuring Soopafly, and "Get My Drink on & My Smoke On." Although 100 Wayz was expected for release that year, it was postponed due to a dispute with Koch Records head Alan Grunblatt; instead, they released the album That Was Then, This is Now, which included the singles originally intended for 100 Wayz, in late 2009.
After putting out the compilation album Keep on Ridin in May 2010, 100 Wayz finally saw release in July of that year. Since then, the duo announced several projects, including Dillinger & Young Gotti III: Get Paid, a collaboration album with Pete Rock, and a re-announcement of the album Westcoast Aftershocc for 2011, as well as several solo projects from Kurupt working with various producers, from DJ Premier and Pete Rock to Fredwreck. However, their only releases of late have been Kurupt's solo album Street Lights and two projects from Daz Dillinger.
Recently, tha Dogg Pound has been involved in various side projects; Kurupt announced the formation of supergroup 1st Generation, made up of himself, King Tee, Sir Jinx, Gangsta of tha Comradz and MC Eiht and producer Tha Chill of Compton's Most Wanted. Both Kurupt and Daz have formed a supergroup called the N'Matez consisting of themselves, the Lady of Rage, and RBX. In December 2011, Tha Dogg Pound put out the single "Forever in a Day," featuring Snoop Dogg, although they have not announced whether it is attached to a specific project. A few days later, the duo announced that their next group album will be entitled Alumni and is set to be executive produced by Snoop Dogg and Dr. Dre, who will be co-producing and/or mixing several of the beats. The album will mark the first time a member of Tha Dogg Pound has collaborated with Dr. Dre since Kurupt's appearances on the producer's album 2001, and the first time Dre has collaborated with Tha Dogg Pound as a duo since he mixed their debut album, Dogg Food. On December 2, 2012, Tha Dogg Pound released a collaboration mixtape with Snoop Dogg titled That's My Work Vol. 1.
In 2021, Tha Dogg Pound is prepping to released their "Dogg Food II" album with the lead single "Let's Roll" debuted in late 2020. Their follow-up single "Nice & Slow" was released in July 2021 and featured Snoop Dogg.
D.P.G.C.
An extended family, referred to as DPGC (short for Dogg Pound Gangsta Clicc), is made up of Tha Dogg Pound, Snoop Dogg, and various affiliated artists and groups from both the Death Row Records, G-Funk Records, DPG Recordz, Antra Music Group and Dogg House Records eras, including Nate Dogg, Warren G, Lil' ½ Dead, Tha Eastsidaz, LBC Crew, Bad Azz, Tray Dee, Soopafly, RBX, Lady of Rage, Al B. Sure!, Crystal DPG and others. The group made its debut with the LP, DPGC: The Remix released in 2002.
Discography
Studio albums
Dogg Food (1995)
Dillinger & Young Gotti (2001)
Dillinger & Young Gotti II: Tha Saga Continuez... (2005)
Cali Iz Active (2006)
Dogg Chit (2007)
That Was Then, This Is Now (2009)
100 Wayz (2010)
DPG 4 Life (2021)
Awards
Grammy Award nominations
Tha Dogg Pound has been nominated for one Grammy Award but has not yet won an award .
References
External links
New Dogg Pound, "Dogg Chit", Album On The Way
Hip hop groups from California
Death Row Records artists
Musical groups established in 1992
1992 establishments in California
Musical groups disestablished in 2002
Musical groups reestablished in 2005
Musical groups from Los Angeles
Snoop Dogg
American musical duos
Hip hop duos
African-American musical groups
Gangsta rap groups
West Coast hip hop groups
| false |
[
"This Is How We Do It is the debut studio album by Montell Jordan. The album peaked at #12 on the Billboard 200 and #4 on the Top R&B/Hip-Hop Albums and was certified platinum. The album also featured the single \"This Is How We Do It\", which made it to #1 on the Billboard Hot 100, #1 on the Hot R&B/Hip-Hop Singles & Tracks and #1 on the Rhythmic Top 40. Another single, \"Somethin' 4 da Honeyz\", peaked at #21 on the Billboard Hot 100 and #18 on the Hot R&B/Hip-Hop Singles & Tracks chart.\n\nTrack listing\n\nCharts\n\nWeekly charts\n\nYear-end charts\n\nReferences\n\nMontell Jordan albums\n1995 debut albums\nDef Jam Recordings albums",
"\"Roll On\" is a song by British girl group Mis-Teeq. Produced by Blacksmith, it was recorded for the band's debut album, Lickin' on Both Sides (2001). The song was released on a double A-single along with a cover version of Montell Jordan's \"This Is How We Do It\" on 17 June 2002, marking the album's final single. Upon its release, it became another top-10 success for the band on the UK Singles Chart, peaking at number seven.\n\nMusic video\nInstead of filming two separate music videos for the double A-side single, one music video was filmed combining both songs. The video opens with \"Roll On\", starting with a group of men playing basketball in a court. The three members of Mis-Teeq (Alesha Dixon, Su-Elise Nash and Sabrina Washington) arrive in a lowrider and watch the men play basketball, and occasionally join in. Then it changes to dusk and cuts to the single \"This Is How We Do It\". The music video was filmed in various parts of Los Angeles, California in the US.\n\nTrack listings\n\nUK CD single\n \"Roll On\" (Rishi Rich BhangraHop edit)\n \"This Is How We Do It\" (Rishi Rich Mayfair edit)\n \"Roll On\" / \"This Is How We Do It\" (video)\n\nUK cassette single\n \"Roll On\" (Rishi Rich BhangraHop edit)\n \"This Is How We Do It\" (Rishi Rich Mayfair edit)\n \"Roll On\" (Rishi Rich radio mix)\n\nEuropean CD single\n \"Roll On\" (Rishi Rich BhangraHop edit) – 3:45\n \"This Is How We Do It\" (Rishi Rich Mayfair edit) – 3:27\n\nAustralian CD single\n \"Roll On\" (Rishi Rich radio mix)\n \"This Is How We Do It\" (Rishi Rich Mayfair edit)\n \"Roll On\" (Blacksmith Olde Skool mix)\n \"This Is How We Do It\" (Mayfair club rub)\n \"Roll On\" (Rishi Rich club mix)\n\nCharts\nAll entries charted with \"This Is How We Do It\" except where noted.\n\nWeekly charts\n\nYear-end charts\n\nReferences\n\n2001 songs\n2002 singles\nMis-Teeq songs\nTelstar Records singles"
] |
[
"Tha Dogg Pound",
"Death Row years (1991-1998)",
"What did Tha Dogg Pound do in the Death Row years?",
"they released their debut album Dogg Food under Death Row Records.",
"Did they have a top song that was a hit on the album?",
"\"Let's Play House\" was the biggest hit,",
"How well did the album do on the charts?",
"breaking into the Top 50 of the Hot 100,"
] |
C_33681fda5e1b4eb3971dd629c6afa4cc_1
|
What year was their album Dogg Food released?
| 4 |
What year was Tha Dogg Pound's album Dogg Food released?
|
Tha Dogg Pound
|
Before The Chronic album came out, Kurupt & Daz were solo artists, however having heard the chemistry the two had whilst recording the album, Dr. Dre suggested they make a group. The two went on to feature on Doggystyle and various features and soundtracks as Tha Dogg Pound. Between 1993-1994, the group assisted Hammer on his The Funky Headhunter album (such as the song "Sleepin' on a Master Plan" and others), along with Suge Knight and the Whole 9. In 1995, they released their debut album Dogg Food under Death Row Records. The album debuted #1 on the Billboard 200 and went on to reach 2x platinum status. It was quite a success. "Let's Play House" was the biggest hit, breaking into the Top 50 of the Hot 100, while "New York, New York" was an MTV favorite; in the video for the latter, Kurupt, Daz, and Snoop stomped Godzilla-like around the Big Apple, taunting their East Coast rivals. In the October that followed, towards the end of the same year, Tupac Shakur had been bailed out of jail by Death Row's Suge Knight in exchange for releasing his following four albums on Death Row Records. In 1996, Tha Dogg Pound were featured on 2Pac's widely acclaimed Death Row Records debut album All Eyez on Me with Kurupt featured in "Got My Mind Made Up" and "Check Out Time" and Daz Dillinger producing the hit songs "2 Of Amerikaz Most Wanted", "Ambitionz Az A Ridah", and "I Ain't Mad At Cha" among other tracks which solidified his status as a talented and successful producer. In early September of the same year, Shakur was murdered in Las Vegas, Nevada. Kurupt and Daz were deeply affected by this and struggled to release anything after Shakur's passing. 7 years later in a 2003 interview, Daz stated that he now believed Suge Knight was responsible for Shakur's murder. They remained active thereafter, rapping on Snoop's Tha Doggfather in 1996. Tha Dogg Pound was an integral part of the Death Row Records empire, which cast a tall shadow over rap music in the early to mid-'90s. CANNOTANSWER
|
1995,
|
Tha Dogg Pound is an American hip hop duo made up of rappers Kurupt and Daz Dillinger. They were signed to Death Row Records in their early careers and were key to the label's success.
Kurupt and Daz went on to release solo albums starting in 1998. They eventually left the crumbling Death Row Records in 1999. Daz left due to long-lasting internal struggles on the label after friend and labelmate Tupac Shakur's murder in 1996. Kurupt started Antra Records, while Daz and Soopafly started D.P.G. Recordz. In 2002 a feud arose between the two when Kurupt decided to sign back with Death Row Records, upsetting everyone involved with the group. His awaited Death Row release Against Tha Grain had been postponed several times while Kurupt was on the label, later being released in August 2005, after he was off. In January 2005, Daz made another solo album release titled Tha Dogg Pound Gangsta LP. Tha Dogg Pound then got back together as a group and released Dillinger & Young Gotti II in November 2005. In 2006, Snoop Dogg executive produced released their official reunion album Cali Iz Active.
History
Death Row years (1992–1998)
Before The Chronic album came out, Kurupt and Daz were solo artists, however having heard the chemistry they had whilst recording the album, Dr. Dre suggested they make a group. The two went on to feature on Doggystyle and various features and soundtracks as Tha Dogg Pound.
Between 1993 and 1994, the group assisted Hammer on his The Funky Headhunter album (such as the song "Sleepin' on a Master Plan" and others), along with Suge Knight and the Whole 9.
In 1995, they released their debut album Dogg Food under Death Row Records. The album debuted #1 on the Billboard 200 and went on to reach twice platinum status. "Let's Play House" was the biggest hit, breaking into the Top 50 of the Billboard Hot 100, while "New York, New York" was an MTV favorite; in the video for the latter, Daz and Snoop stomped Godzilla-like around the Big Apple, taunting their East Coast rivals. In the October that followed, towards the end of the same year, Tupac Shakur had been bailed out of jail by Death Row's Suge Knight in exchange for releasing his following four albums on Death Row Records.
In 1996, Tha Dogg Pound were featured on 2Pac's Death Row Records debut album All Eyez on Me with Kurupt featured in "Got My Mind Made Up" and "Check Out Time" and Daz Dillinger producing the hit songs "2 Of Amerikaz Most Wanted", "Ambitionz Az A Ridah", and "I Ain't Mad At Cha". In early September of the same year, Shakur was murdered in Las Vegas, Nevada. Kurupt and Daz were deeply affected by this and struggled to release anything after Shakur's passing. Seven years later in a 2003 interview, Daz stated that he now believed Suge Knight was responsible for Shakur's murder. They remained active thereafter, rapping on Snoop's Tha Doggfather in 1996.
Kurupt and Daz leave Death Row (1999–2001)
In 1997, Kurupt left Death Row but remained in Tha Dogg Pound. Kurupt released two solo albums in 1998 (Kuruption!) and 1999 (Tha Streetz Iz a Mutha) that had Daz Dillinger and the rest of DPG on them. However, in 1998 Daz was making noise of his own over at Death Row and released his only Death Row album (Retaliation, Revenge and Get Back) which went gold. Afterward, he made his own label called Mobstyle Muzik, in which he had his first taste of the independent scene. Mobstyle's first release Poppa Snoop Presents Mobstyle Muzik Volume 1 failed and Daz returned to Death Row. He later started up DPG Recordz along with Christopher "Big C-Style" Bowden through Death Row Records.
Daz also eventually parted ways with Death Row in late 1999 and released his first independent album R.A.W. in 2000. That was followed by the D.P.G. album from Tha Dogg Pound entitled Dillinger & Young Gotti. After Tha Dogg Pound's full departure from Death Row, Suge Knight claimed ownership of the name "Tha Dogg Pound" and any tracks recorded prior to them leaving. To avoid a legal battle at the time, Daz changed their marketing name to D.P.G. short for Dogg Pound Gangstaz. In 2001, Suge Knight released a Dogg Pound album entitled 2002, which consisted of unreleased Dogg Pound tracks. Soopafly's songs were featured on his 2001 solo album Dat Whoopty Woop.
External matters
Over the years Tha Dogg Pound had beef with Bone Thugs-N-Harmony, due to Death Row Records being embroiled in a feud with Eazy-E's Ruthless Records. Tha Dogg Pound made a diss towards The Bone Thugs, on the song "Dogg Pound Gangstaz", with Kurupt's line "Ain't got no love for no hoes in harmony." In response Layzie Bone shot back on the track "Shotz to tha Double Glock" with the line "Dogg Pound hoes it's on." "Krayzie Bone says "Gotta find these 'Row Hoes" in the song "Mo' Murda" off the East 99 album. The feud ended when Snoop Dogg and Kurupt were featured on Krayzie Bone's album Thug Mentality 1999 in the song "The War Iz On." Kurupt was featured on Flesh-N-Bone's song "Kurupted Flesh" on the 5th Dog Let Loose. Krayzie Bone also featured on Daz Dillinger's 2008 solo album Only on the Left Side on the song "Meal Ticket" and later on the song "Money Fold'N" on Tha Dogg Pound's 2009 album That Was Then, This Is Now.
Tha Dogg Pound were also involved in a feud with B.G. Knocc Out & Dresta. In response to Eazy-E's Real Muthaphukkin G's and Kokane & Cold 187um's "Don't Bite The Funk", Tha Dogg Pound along with Snoop Dogg made a track called "What Would You Do" with such lines as: "Fuck B.G. Knocc Out and every nigga down with him." Later B.G. Knocc Out & Dresta retaliated with the song "D.P.G. Killa", on their debut album Real Brothas. They have since squashed the beef and released a song called "Blaze It Up", as a bonus track on Tha Dogg Pound's Dogg Chit album.
The duo engaged in yet another conflict, the beef Suge and new signee 2Pac initiated against Bad Boy Entertainment's Puff Daddy and Notorious B.I.G.; Daz and Kurupt would expand the feud to include Capone-N-Noreaga, Tragedy Khadafi and Mobb Deep with their Snoop-assisted single "New York, New York."
In late 2002, Kurupt shocked the entire DPGC and fans alike, when he accepted the job of executive producer at Death Row Records. Daz, Soopafly, Snoop Dogg, and the rest of DPGC viewed this as betrayal and took many shots and dissed Kurupt harshly for making the move. Kurupt did the same claiming they all were wrong to have turned their backs on Death Row. They declared war between both camps and that he was not the one who changed, rather them.
The rap duo heavily dissed each other from 2003 to late 2004, both recording diss albums against each other. Daz took aim at Kurupt and Death Row with his single "U Ain't Shit" featuring Bad Azz and another song "I Don't Give a Fucc" which is sung over the beat to 50 Cent's In Da Club. Kurupt responded heavily with his Originals album which featured many disses throughout nearly every song, most notably the bonus track "Eat a Dicc (Fucc Daz)".
Reunion and Cali Iz Active (2005–2006)
The feud continued until early 2005 when Kurupt and Daz made a truce. The struggling Death Row Records failed to promote Kurupt's album Against Tha Grain and the duo began to feel remorse for one another. Kurupt left Death Row apparently along with their former Tha Dogg Pound alias and reunited with Daz. The duo started rapping together again and even made a new album together entitled Dillinger & Young Gotti II: Tha Saga Continuez. After The Western Conference in 2005 the two of them agreed to revitalize the DPGC by working together once again on an album with Snoop Dogg, Soopafly, Nate Dogg, Warren G, RBX, Lady of Rage and Lil' ½ Dead with Snoop taking over the producing and distributing tasks for it.
Tha Dogg Pound then released a joint venture reunion comeback project the next year in 2006 called Cali Iz Active under the aegis of Snoop Dogg's Doggystyle Records with the main single "Cali Iz Active" featuring Snoop Dogg and a wide range of new producers throughout the album.
New releases and future projects (2007–present)
Tha Dogg Pound released the album Dogg Chit independently on March 27, 2007, touting it as a sequel to their debut. In August 2007 it was announced that the duo was in the process of signing to Cash Money Records; their next album was announced as Westcoast Aftershocc. The pair released the singles "Ch-Ching" and "Mystic River" from the album, but when the deal stalled, they postponed the project in favor of a separate album, 100 Wayz. Tha Dogg Pound began putting out singles for the latter album as early as 2008, releasing "Cheat" featuring Pharrell and following up with "They Don't Want It" featuring Soopafly, and "Get My Drink on & My Smoke On." Although 100 Wayz was expected for release that year, it was postponed due to a dispute with Koch Records head Alan Grunblatt; instead, they released the album That Was Then, This is Now, which included the singles originally intended for 100 Wayz, in late 2009.
After putting out the compilation album Keep on Ridin in May 2010, 100 Wayz finally saw release in July of that year. Since then, the duo announced several projects, including Dillinger & Young Gotti III: Get Paid, a collaboration album with Pete Rock, and a re-announcement of the album Westcoast Aftershocc for 2011, as well as several solo projects from Kurupt working with various producers, from DJ Premier and Pete Rock to Fredwreck. However, their only releases of late have been Kurupt's solo album Street Lights and two projects from Daz Dillinger.
Recently, tha Dogg Pound has been involved in various side projects; Kurupt announced the formation of supergroup 1st Generation, made up of himself, King Tee, Sir Jinx, Gangsta of tha Comradz and MC Eiht and producer Tha Chill of Compton's Most Wanted. Both Kurupt and Daz have formed a supergroup called the N'Matez consisting of themselves, the Lady of Rage, and RBX. In December 2011, Tha Dogg Pound put out the single "Forever in a Day," featuring Snoop Dogg, although they have not announced whether it is attached to a specific project. A few days later, the duo announced that their next group album will be entitled Alumni and is set to be executive produced by Snoop Dogg and Dr. Dre, who will be co-producing and/or mixing several of the beats. The album will mark the first time a member of Tha Dogg Pound has collaborated with Dr. Dre since Kurupt's appearances on the producer's album 2001, and the first time Dre has collaborated with Tha Dogg Pound as a duo since he mixed their debut album, Dogg Food. On December 2, 2012, Tha Dogg Pound released a collaboration mixtape with Snoop Dogg titled That's My Work Vol. 1.
In 2021, Tha Dogg Pound is prepping to released their "Dogg Food II" album with the lead single "Let's Roll" debuted in late 2020. Their follow-up single "Nice & Slow" was released in July 2021 and featured Snoop Dogg.
D.P.G.C.
An extended family, referred to as DPGC (short for Dogg Pound Gangsta Clicc), is made up of Tha Dogg Pound, Snoop Dogg, and various affiliated artists and groups from both the Death Row Records, G-Funk Records, DPG Recordz, Antra Music Group and Dogg House Records eras, including Nate Dogg, Warren G, Lil' ½ Dead, Tha Eastsidaz, LBC Crew, Bad Azz, Tray Dee, Soopafly, RBX, Lady of Rage, Al B. Sure!, Crystal DPG and others. The group made its debut with the LP, DPGC: The Remix released in 2002.
Discography
Studio albums
Dogg Food (1995)
Dillinger & Young Gotti (2001)
Dillinger & Young Gotti II: Tha Saga Continuez... (2005)
Cali Iz Active (2006)
Dogg Chit (2007)
That Was Then, This Is Now (2009)
100 Wayz (2010)
DPG 4 Life (2021)
Awards
Grammy Award nominations
Tha Dogg Pound has been nominated for one Grammy Award but has not yet won an award .
References
External links
New Dogg Pound, "Dogg Chit", Album On The Way
Hip hop groups from California
Death Row Records artists
Musical groups established in 1992
1992 establishments in California
Musical groups disestablished in 2002
Musical groups reestablished in 2005
Musical groups from Los Angeles
Snoop Dogg
American musical duos
Hip hop duos
African-American musical groups
Gangsta rap groups
West Coast hip hop groups
| true |
[
"Take Out Yo Gun is the second album by kwaito star The Dogg, released in December 2004. The album has received many positive reviews from critics despite the fact that it was released the same year as Shimaliw' Osatana. Take Out Yo Gun was the first album to be released on The Dogg's own label Mshasho Productions. Gazza appeared on the album, The Dogg also appeared on Gazza's Zula II Survive which marked the end of their collaboration.\n\nThe album's first single The Dogg Is Back became an anthem and topped the charts on various radio stations in the country. The album was very successful and won awards both at the Sanlam-NBC Music Awards and at the Namibian Music Awards. Take Out Yo Gun won Dogg his third artist of the year award at the Sanlam-NBC Music Awards which sent him on the France trip that was sponsored by the FNCC.\n\nProduction \n\nThe entire album was produced by Elvo, and co-produced by The Dogg, except for track 1 which was produced by former Mshasho artist and producer, Carl.\n\nTrack listing \n\n2004 albums\nThe Dogg albums\nAlbums produced by the Dogg\nAlbums produced by Elvo\nMshasho Productions albums",
"Let's Ryde 2Night EP is an EP by rap group Tha Dogg Pound. It was released online as an iTunes exclusive after Tha Dogg Pound's deal with Cash Money Records was postponed. The featured single Ch-Ching was intended for their 100 Wayz album, but was released on Let's Ryde 2Night along with several other new songs as well a few unreleased Dogg Pound tracks that were originally recorded for Cali Iz Active.\n\nTrack listing\nLet's Ryde 2Night 3:59\nCh-Ching 4:59\nLook Like U Need a Lift (feat. B-Real & Nate Dogg) 3:59\nCuz from tha Dogg Pound 4:13\nBacc on tha Rise 3:17\nWatch Us Ryde 4:05\nThiz DPG (feat. Nitti) 4:16\nWhat Cha Want (feat. Busta Rhymes) 3:45\nF.Y.T. (feat. San Quinn & The Yee) 4:03\nOooh Baby 4:22\nVibe wit a Pimp [Shawty Redd Remix] (feat. Snoop Dogg) 3:31 \nXmas Seasons (feat. Nate Dogg & Snoop Dogg) 5:16\n\n2008 EPs\nTha Dogg Pound albums\nAlbums produced by Daz Dillinger\nAlbums produced by the Alchemist (musician)\nAlbums produced by Shawty Redd"
] |
[
"Tha Dogg Pound",
"Death Row years (1991-1998)",
"What did Tha Dogg Pound do in the Death Row years?",
"they released their debut album Dogg Food under Death Row Records.",
"Did they have a top song that was a hit on the album?",
"\"Let's Play House\" was the biggest hit,",
"How well did the album do on the charts?",
"breaking into the Top 50 of the Hot 100,",
"What year was their album Dogg Food released?",
"1995,"
] |
C_33681fda5e1b4eb3971dd629c6afa4cc_1
|
Was their any famous rapper featured on this album?
| 5 |
Were there any famous rappers featured on the album Dogg Food?
|
Tha Dogg Pound
|
Before The Chronic album came out, Kurupt & Daz were solo artists, however having heard the chemistry the two had whilst recording the album, Dr. Dre suggested they make a group. The two went on to feature on Doggystyle and various features and soundtracks as Tha Dogg Pound. Between 1993-1994, the group assisted Hammer on his The Funky Headhunter album (such as the song "Sleepin' on a Master Plan" and others), along with Suge Knight and the Whole 9. In 1995, they released their debut album Dogg Food under Death Row Records. The album debuted #1 on the Billboard 200 and went on to reach 2x platinum status. It was quite a success. "Let's Play House" was the biggest hit, breaking into the Top 50 of the Hot 100, while "New York, New York" was an MTV favorite; in the video for the latter, Kurupt, Daz, and Snoop stomped Godzilla-like around the Big Apple, taunting their East Coast rivals. In the October that followed, towards the end of the same year, Tupac Shakur had been bailed out of jail by Death Row's Suge Knight in exchange for releasing his following four albums on Death Row Records. In 1996, Tha Dogg Pound were featured on 2Pac's widely acclaimed Death Row Records debut album All Eyez on Me with Kurupt featured in "Got My Mind Made Up" and "Check Out Time" and Daz Dillinger producing the hit songs "2 Of Amerikaz Most Wanted", "Ambitionz Az A Ridah", and "I Ain't Mad At Cha" among other tracks which solidified his status as a talented and successful producer. In early September of the same year, Shakur was murdered in Las Vegas, Nevada. Kurupt and Daz were deeply affected by this and struggled to release anything after Shakur's passing. 7 years later in a 2003 interview, Daz stated that he now believed Suge Knight was responsible for Shakur's murder. They remained active thereafter, rapping on Snoop's Tha Doggfather in 1996. Tha Dogg Pound was an integral part of the Death Row Records empire, which cast a tall shadow over rap music in the early to mid-'90s. CANNOTANSWER
|
Kurupt, Daz, and Snoop
|
Tha Dogg Pound is an American hip hop duo made up of rappers Kurupt and Daz Dillinger. They were signed to Death Row Records in their early careers and were key to the label's success.
Kurupt and Daz went on to release solo albums starting in 1998. They eventually left the crumbling Death Row Records in 1999. Daz left due to long-lasting internal struggles on the label after friend and labelmate Tupac Shakur's murder in 1996. Kurupt started Antra Records, while Daz and Soopafly started D.P.G. Recordz. In 2002 a feud arose between the two when Kurupt decided to sign back with Death Row Records, upsetting everyone involved with the group. His awaited Death Row release Against Tha Grain had been postponed several times while Kurupt was on the label, later being released in August 2005, after he was off. In January 2005, Daz made another solo album release titled Tha Dogg Pound Gangsta LP. Tha Dogg Pound then got back together as a group and released Dillinger & Young Gotti II in November 2005. In 2006, Snoop Dogg executive produced released their official reunion album Cali Iz Active.
History
Death Row years (1992–1998)
Before The Chronic album came out, Kurupt and Daz were solo artists, however having heard the chemistry they had whilst recording the album, Dr. Dre suggested they make a group. The two went on to feature on Doggystyle and various features and soundtracks as Tha Dogg Pound.
Between 1993 and 1994, the group assisted Hammer on his The Funky Headhunter album (such as the song "Sleepin' on a Master Plan" and others), along with Suge Knight and the Whole 9.
In 1995, they released their debut album Dogg Food under Death Row Records. The album debuted #1 on the Billboard 200 and went on to reach twice platinum status. "Let's Play House" was the biggest hit, breaking into the Top 50 of the Billboard Hot 100, while "New York, New York" was an MTV favorite; in the video for the latter, Daz and Snoop stomped Godzilla-like around the Big Apple, taunting their East Coast rivals. In the October that followed, towards the end of the same year, Tupac Shakur had been bailed out of jail by Death Row's Suge Knight in exchange for releasing his following four albums on Death Row Records.
In 1996, Tha Dogg Pound were featured on 2Pac's Death Row Records debut album All Eyez on Me with Kurupt featured in "Got My Mind Made Up" and "Check Out Time" and Daz Dillinger producing the hit songs "2 Of Amerikaz Most Wanted", "Ambitionz Az A Ridah", and "I Ain't Mad At Cha". In early September of the same year, Shakur was murdered in Las Vegas, Nevada. Kurupt and Daz were deeply affected by this and struggled to release anything after Shakur's passing. Seven years later in a 2003 interview, Daz stated that he now believed Suge Knight was responsible for Shakur's murder. They remained active thereafter, rapping on Snoop's Tha Doggfather in 1996.
Kurupt and Daz leave Death Row (1999–2001)
In 1997, Kurupt left Death Row but remained in Tha Dogg Pound. Kurupt released two solo albums in 1998 (Kuruption!) and 1999 (Tha Streetz Iz a Mutha) that had Daz Dillinger and the rest of DPG on them. However, in 1998 Daz was making noise of his own over at Death Row and released his only Death Row album (Retaliation, Revenge and Get Back) which went gold. Afterward, he made his own label called Mobstyle Muzik, in which he had his first taste of the independent scene. Mobstyle's first release Poppa Snoop Presents Mobstyle Muzik Volume 1 failed and Daz returned to Death Row. He later started up DPG Recordz along with Christopher "Big C-Style" Bowden through Death Row Records.
Daz also eventually parted ways with Death Row in late 1999 and released his first independent album R.A.W. in 2000. That was followed by the D.P.G. album from Tha Dogg Pound entitled Dillinger & Young Gotti. After Tha Dogg Pound's full departure from Death Row, Suge Knight claimed ownership of the name "Tha Dogg Pound" and any tracks recorded prior to them leaving. To avoid a legal battle at the time, Daz changed their marketing name to D.P.G. short for Dogg Pound Gangstaz. In 2001, Suge Knight released a Dogg Pound album entitled 2002, which consisted of unreleased Dogg Pound tracks. Soopafly's songs were featured on his 2001 solo album Dat Whoopty Woop.
External matters
Over the years Tha Dogg Pound had beef with Bone Thugs-N-Harmony, due to Death Row Records being embroiled in a feud with Eazy-E's Ruthless Records. Tha Dogg Pound made a diss towards The Bone Thugs, on the song "Dogg Pound Gangstaz", with Kurupt's line "Ain't got no love for no hoes in harmony." In response Layzie Bone shot back on the track "Shotz to tha Double Glock" with the line "Dogg Pound hoes it's on." "Krayzie Bone says "Gotta find these 'Row Hoes" in the song "Mo' Murda" off the East 99 album. The feud ended when Snoop Dogg and Kurupt were featured on Krayzie Bone's album Thug Mentality 1999 in the song "The War Iz On." Kurupt was featured on Flesh-N-Bone's song "Kurupted Flesh" on the 5th Dog Let Loose. Krayzie Bone also featured on Daz Dillinger's 2008 solo album Only on the Left Side on the song "Meal Ticket" and later on the song "Money Fold'N" on Tha Dogg Pound's 2009 album That Was Then, This Is Now.
Tha Dogg Pound were also involved in a feud with B.G. Knocc Out & Dresta. In response to Eazy-E's Real Muthaphukkin G's and Kokane & Cold 187um's "Don't Bite The Funk", Tha Dogg Pound along with Snoop Dogg made a track called "What Would You Do" with such lines as: "Fuck B.G. Knocc Out and every nigga down with him." Later B.G. Knocc Out & Dresta retaliated with the song "D.P.G. Killa", on their debut album Real Brothas. They have since squashed the beef and released a song called "Blaze It Up", as a bonus track on Tha Dogg Pound's Dogg Chit album.
The duo engaged in yet another conflict, the beef Suge and new signee 2Pac initiated against Bad Boy Entertainment's Puff Daddy and Notorious B.I.G.; Daz and Kurupt would expand the feud to include Capone-N-Noreaga, Tragedy Khadafi and Mobb Deep with their Snoop-assisted single "New York, New York."
In late 2002, Kurupt shocked the entire DPGC and fans alike, when he accepted the job of executive producer at Death Row Records. Daz, Soopafly, Snoop Dogg, and the rest of DPGC viewed this as betrayal and took many shots and dissed Kurupt harshly for making the move. Kurupt did the same claiming they all were wrong to have turned their backs on Death Row. They declared war between both camps and that he was not the one who changed, rather them.
The rap duo heavily dissed each other from 2003 to late 2004, both recording diss albums against each other. Daz took aim at Kurupt and Death Row with his single "U Ain't Shit" featuring Bad Azz and another song "I Don't Give a Fucc" which is sung over the beat to 50 Cent's In Da Club. Kurupt responded heavily with his Originals album which featured many disses throughout nearly every song, most notably the bonus track "Eat a Dicc (Fucc Daz)".
Reunion and Cali Iz Active (2005–2006)
The feud continued until early 2005 when Kurupt and Daz made a truce. The struggling Death Row Records failed to promote Kurupt's album Against Tha Grain and the duo began to feel remorse for one another. Kurupt left Death Row apparently along with their former Tha Dogg Pound alias and reunited with Daz. The duo started rapping together again and even made a new album together entitled Dillinger & Young Gotti II: Tha Saga Continuez. After The Western Conference in 2005 the two of them agreed to revitalize the DPGC by working together once again on an album with Snoop Dogg, Soopafly, Nate Dogg, Warren G, RBX, Lady of Rage and Lil' ½ Dead with Snoop taking over the producing and distributing tasks for it.
Tha Dogg Pound then released a joint venture reunion comeback project the next year in 2006 called Cali Iz Active under the aegis of Snoop Dogg's Doggystyle Records with the main single "Cali Iz Active" featuring Snoop Dogg and a wide range of new producers throughout the album.
New releases and future projects (2007–present)
Tha Dogg Pound released the album Dogg Chit independently on March 27, 2007, touting it as a sequel to their debut. In August 2007 it was announced that the duo was in the process of signing to Cash Money Records; their next album was announced as Westcoast Aftershocc. The pair released the singles "Ch-Ching" and "Mystic River" from the album, but when the deal stalled, they postponed the project in favor of a separate album, 100 Wayz. Tha Dogg Pound began putting out singles for the latter album as early as 2008, releasing "Cheat" featuring Pharrell and following up with "They Don't Want It" featuring Soopafly, and "Get My Drink on & My Smoke On." Although 100 Wayz was expected for release that year, it was postponed due to a dispute with Koch Records head Alan Grunblatt; instead, they released the album That Was Then, This is Now, which included the singles originally intended for 100 Wayz, in late 2009.
After putting out the compilation album Keep on Ridin in May 2010, 100 Wayz finally saw release in July of that year. Since then, the duo announced several projects, including Dillinger & Young Gotti III: Get Paid, a collaboration album with Pete Rock, and a re-announcement of the album Westcoast Aftershocc for 2011, as well as several solo projects from Kurupt working with various producers, from DJ Premier and Pete Rock to Fredwreck. However, their only releases of late have been Kurupt's solo album Street Lights and two projects from Daz Dillinger.
Recently, tha Dogg Pound has been involved in various side projects; Kurupt announced the formation of supergroup 1st Generation, made up of himself, King Tee, Sir Jinx, Gangsta of tha Comradz and MC Eiht and producer Tha Chill of Compton's Most Wanted. Both Kurupt and Daz have formed a supergroup called the N'Matez consisting of themselves, the Lady of Rage, and RBX. In December 2011, Tha Dogg Pound put out the single "Forever in a Day," featuring Snoop Dogg, although they have not announced whether it is attached to a specific project. A few days later, the duo announced that their next group album will be entitled Alumni and is set to be executive produced by Snoop Dogg and Dr. Dre, who will be co-producing and/or mixing several of the beats. The album will mark the first time a member of Tha Dogg Pound has collaborated with Dr. Dre since Kurupt's appearances on the producer's album 2001, and the first time Dre has collaborated with Tha Dogg Pound as a duo since he mixed their debut album, Dogg Food. On December 2, 2012, Tha Dogg Pound released a collaboration mixtape with Snoop Dogg titled That's My Work Vol. 1.
In 2021, Tha Dogg Pound is prepping to released their "Dogg Food II" album with the lead single "Let's Roll" debuted in late 2020. Their follow-up single "Nice & Slow" was released in July 2021 and featured Snoop Dogg.
D.P.G.C.
An extended family, referred to as DPGC (short for Dogg Pound Gangsta Clicc), is made up of Tha Dogg Pound, Snoop Dogg, and various affiliated artists and groups from both the Death Row Records, G-Funk Records, DPG Recordz, Antra Music Group and Dogg House Records eras, including Nate Dogg, Warren G, Lil' ½ Dead, Tha Eastsidaz, LBC Crew, Bad Azz, Tray Dee, Soopafly, RBX, Lady of Rage, Al B. Sure!, Crystal DPG and others. The group made its debut with the LP, DPGC: The Remix released in 2002.
Discography
Studio albums
Dogg Food (1995)
Dillinger & Young Gotti (2001)
Dillinger & Young Gotti II: Tha Saga Continuez... (2005)
Cali Iz Active (2006)
Dogg Chit (2007)
That Was Then, This Is Now (2009)
100 Wayz (2010)
DPG 4 Life (2021)
Awards
Grammy Award nominations
Tha Dogg Pound has been nominated for one Grammy Award but has not yet won an award .
References
External links
New Dogg Pound, "Dogg Chit", Album On The Way
Hip hop groups from California
Death Row Records artists
Musical groups established in 1992
1992 establishments in California
Musical groups disestablished in 2002
Musical groups reestablished in 2005
Musical groups from Los Angeles
Snoop Dogg
American musical duos
Hip hop duos
African-American musical groups
Gangsta rap groups
West Coast hip hop groups
| false |
[
"Loyal Bros, officially titled Only the Family – Lil Durk Presents: Loyal Bros, is a compilation album by American record label Only the Family. It was released on March 5, 2021, through the label alongside Empire Distribution. The album contains guest appearances from Lil Durk, late rapper King Von, Booka600, Memo600, Doodie Lo, THF Zoo, Lil Uzi Vert, Chief Wuk, Tee Grizzley, Big30, EST Gee, OTF Timo, Boss Top, C3, Slimelife Shawty, Jusblow600, Lil Mexico, Foogiano, OTF Ikey, Hypno Carlito, Boonie Moe, and Boona. It serves as the fourth compilation album by the label, following the 2019 compilation album, Family over Everything, a collaborative project with Durk.\n\nBackground\nThe album serves as the first project/compilation album by the record label to be released after one of its artists, American rapper King Von died from a shootout outside a nightclub in Atlanta, Georgia, on November 6, 2020. It is dedicated to him and is not the first time that Lil Durk has dedicated music to the late rapper, as some works include his sixth studio album, The Voice (2020), along with all the songs on the album, specifically the sixth track and their first posthumous collaboration, \"Still Trappin'.\n\nRelease and promotion\nOn February 6, 2021, it was claimed that the album would reportedly be released on February 26, 2021. However, this was not the case, as Only the Family revealed its cover art on the rumored release date. On March 2, 2021, the label revealed the blurred track listing along with the announcement of the release of \"Jump\", performed by Lil Durk, King Von, and Booka600, featuring Memo600. The clear and official track listing was finally revealed the day before the album was released, March 4, 2021.\n\nSingles\nThe album's lead single, \"Me and Doodie Lo\", with Doodie Lo and King Von, was released on August 21, 2020. The second single, \"Streets Raised Me\", with Doodie Lo and Booka600, was released on Black Friday, November 27, 2020. \"Pull Up\", with Doodie Lo and American rapper Timo, featuring American rapper C3 was released as the third single on January 15, 2021. Following it, the fourth single, \"Rules\", with Timo, was released on February 5, 2021. \"Pistol Tottin\", with American rapper Memo600, featuring American rapper Foogiano, was released as the sixth single on February 19, 2021. Finally, \"Jump\", performed by Lil Durk, King Von, and Booka600, featuring Memo600, was released as the sixth and final single on March 3, 2021.\n\nCommercial performance\nLoyal Bros debuted at number 12 on the US Billboard 200 chart, earning 28,000 album-equivalent units (including 2,000 copies in pure album sales) in its first week. The album also accumulated a total of 33.2 million on-demand streams of the album’s songs.\n\nTrack listing\nCredits adapted from Tidal.\n\nPersonnel\nCredits adapted from Tidal.\n\n Only the Family – primary artist \n Lil Durk – primary artist \n King Von – primary artist \n Booka600 – primary artist \n Memo600 – featured artist , primary artist \n Doodie Lo – featured artist \n Thf Zoo – featured artist , primary artist \n Lil Uzi Vert – featured artist \n Chief Wuk – primary artist \n Tee Grizzley – primary artist \n Big30 – featured artist \n EST Gee – featured artist \n Timo – primary artist \n C3 – featured artist \n Slimelife Shawty – primary artist \n Jusblow600 – primary artist \n Boss Top – primary artist \n Lil Mexico – primary artist \n Foogiano – featured artist \n Ikey – primary artist \n Hypno Carlito – primary artist \n Boonie Mo – primary artist \n Boona – featured artist\n\nCharts\n\nWeekly charts\n\nYear-end charts\n\nRelease history\n\nReferences\n\n2021 compilation albums",
"Beast Mode is the ninth studio album by American rapper Juvenile. The album was released on July 6, 2010, by UTP Records and E1 Entertainment. Producers on the album include S-8ighty, C. Smith, Sinista, Streets, Raj Smoov, and Niyo.\n\nBackground \nThe album is the rapper's follow up to his album Cocky & Confident, which was released in 2009. Juvenile said that he did not expect to include many featured guests on the album, but he does plan to recruit artists for the remix versions of his singles.\n\nSingles \nThe first single is \"Drop That Azz\", which was produced by C. Smith. It was released on iTunes on May 18, 2010. A music video for the single was released on June 11, 2010.\n\nTrack listing\n\nCharts\n\nReferences \n\n2010 albums\nJuvenile (rapper) albums"
] |
[
"Tha Dogg Pound",
"Death Row years (1991-1998)",
"What did Tha Dogg Pound do in the Death Row years?",
"they released their debut album Dogg Food under Death Row Records.",
"Did they have a top song that was a hit on the album?",
"\"Let's Play House\" was the biggest hit,",
"How well did the album do on the charts?",
"breaking into the Top 50 of the Hot 100,",
"What year was their album Dogg Food released?",
"1995,",
"Was their any famous rapper featured on this album?",
"Kurupt, Daz, and Snoop"
] |
C_33681fda5e1b4eb3971dd629c6afa4cc_1
|
Did they release another album during their Death Row years?
| 6 |
Besides Dogg Food, did Tha Dogg Pound release another album during their Death Row years?
|
Tha Dogg Pound
|
Before The Chronic album came out, Kurupt & Daz were solo artists, however having heard the chemistry the two had whilst recording the album, Dr. Dre suggested they make a group. The two went on to feature on Doggystyle and various features and soundtracks as Tha Dogg Pound. Between 1993-1994, the group assisted Hammer on his The Funky Headhunter album (such as the song "Sleepin' on a Master Plan" and others), along with Suge Knight and the Whole 9. In 1995, they released their debut album Dogg Food under Death Row Records. The album debuted #1 on the Billboard 200 and went on to reach 2x platinum status. It was quite a success. "Let's Play House" was the biggest hit, breaking into the Top 50 of the Hot 100, while "New York, New York" was an MTV favorite; in the video for the latter, Kurupt, Daz, and Snoop stomped Godzilla-like around the Big Apple, taunting their East Coast rivals. In the October that followed, towards the end of the same year, Tupac Shakur had been bailed out of jail by Death Row's Suge Knight in exchange for releasing his following four albums on Death Row Records. In 1996, Tha Dogg Pound were featured on 2Pac's widely acclaimed Death Row Records debut album All Eyez on Me with Kurupt featured in "Got My Mind Made Up" and "Check Out Time" and Daz Dillinger producing the hit songs "2 Of Amerikaz Most Wanted", "Ambitionz Az A Ridah", and "I Ain't Mad At Cha" among other tracks which solidified his status as a talented and successful producer. In early September of the same year, Shakur was murdered in Las Vegas, Nevada. Kurupt and Daz were deeply affected by this and struggled to release anything after Shakur's passing. 7 years later in a 2003 interview, Daz stated that he now believed Suge Knight was responsible for Shakur's murder. They remained active thereafter, rapping on Snoop's Tha Doggfather in 1996. Tha Dogg Pound was an integral part of the Death Row Records empire, which cast a tall shadow over rap music in the early to mid-'90s. CANNOTANSWER
|
All Eyez on Me with Kurupt
|
Tha Dogg Pound is an American hip hop duo made up of rappers Kurupt and Daz Dillinger. They were signed to Death Row Records in their early careers and were key to the label's success.
Kurupt and Daz went on to release solo albums starting in 1998. They eventually left the crumbling Death Row Records in 1999. Daz left due to long-lasting internal struggles on the label after friend and labelmate Tupac Shakur's murder in 1996. Kurupt started Antra Records, while Daz and Soopafly started D.P.G. Recordz. In 2002 a feud arose between the two when Kurupt decided to sign back with Death Row Records, upsetting everyone involved with the group. His awaited Death Row release Against Tha Grain had been postponed several times while Kurupt was on the label, later being released in August 2005, after he was off. In January 2005, Daz made another solo album release titled Tha Dogg Pound Gangsta LP. Tha Dogg Pound then got back together as a group and released Dillinger & Young Gotti II in November 2005. In 2006, Snoop Dogg executive produced released their official reunion album Cali Iz Active.
History
Death Row years (1992–1998)
Before The Chronic album came out, Kurupt and Daz were solo artists, however having heard the chemistry they had whilst recording the album, Dr. Dre suggested they make a group. The two went on to feature on Doggystyle and various features and soundtracks as Tha Dogg Pound.
Between 1993 and 1994, the group assisted Hammer on his The Funky Headhunter album (such as the song "Sleepin' on a Master Plan" and others), along with Suge Knight and the Whole 9.
In 1995, they released their debut album Dogg Food under Death Row Records. The album debuted #1 on the Billboard 200 and went on to reach twice platinum status. "Let's Play House" was the biggest hit, breaking into the Top 50 of the Billboard Hot 100, while "New York, New York" was an MTV favorite; in the video for the latter, Daz and Snoop stomped Godzilla-like around the Big Apple, taunting their East Coast rivals. In the October that followed, towards the end of the same year, Tupac Shakur had been bailed out of jail by Death Row's Suge Knight in exchange for releasing his following four albums on Death Row Records.
In 1996, Tha Dogg Pound were featured on 2Pac's Death Row Records debut album All Eyez on Me with Kurupt featured in "Got My Mind Made Up" and "Check Out Time" and Daz Dillinger producing the hit songs "2 Of Amerikaz Most Wanted", "Ambitionz Az A Ridah", and "I Ain't Mad At Cha". In early September of the same year, Shakur was murdered in Las Vegas, Nevada. Kurupt and Daz were deeply affected by this and struggled to release anything after Shakur's passing. Seven years later in a 2003 interview, Daz stated that he now believed Suge Knight was responsible for Shakur's murder. They remained active thereafter, rapping on Snoop's Tha Doggfather in 1996.
Kurupt and Daz leave Death Row (1999–2001)
In 1997, Kurupt left Death Row but remained in Tha Dogg Pound. Kurupt released two solo albums in 1998 (Kuruption!) and 1999 (Tha Streetz Iz a Mutha) that had Daz Dillinger and the rest of DPG on them. However, in 1998 Daz was making noise of his own over at Death Row and released his only Death Row album (Retaliation, Revenge and Get Back) which went gold. Afterward, he made his own label called Mobstyle Muzik, in which he had his first taste of the independent scene. Mobstyle's first release Poppa Snoop Presents Mobstyle Muzik Volume 1 failed and Daz returned to Death Row. He later started up DPG Recordz along with Christopher "Big C-Style" Bowden through Death Row Records.
Daz also eventually parted ways with Death Row in late 1999 and released his first independent album R.A.W. in 2000. That was followed by the D.P.G. album from Tha Dogg Pound entitled Dillinger & Young Gotti. After Tha Dogg Pound's full departure from Death Row, Suge Knight claimed ownership of the name "Tha Dogg Pound" and any tracks recorded prior to them leaving. To avoid a legal battle at the time, Daz changed their marketing name to D.P.G. short for Dogg Pound Gangstaz. In 2001, Suge Knight released a Dogg Pound album entitled 2002, which consisted of unreleased Dogg Pound tracks. Soopafly's songs were featured on his 2001 solo album Dat Whoopty Woop.
External matters
Over the years Tha Dogg Pound had beef with Bone Thugs-N-Harmony, due to Death Row Records being embroiled in a feud with Eazy-E's Ruthless Records. Tha Dogg Pound made a diss towards The Bone Thugs, on the song "Dogg Pound Gangstaz", with Kurupt's line "Ain't got no love for no hoes in harmony." In response Layzie Bone shot back on the track "Shotz to tha Double Glock" with the line "Dogg Pound hoes it's on." "Krayzie Bone says "Gotta find these 'Row Hoes" in the song "Mo' Murda" off the East 99 album. The feud ended when Snoop Dogg and Kurupt were featured on Krayzie Bone's album Thug Mentality 1999 in the song "The War Iz On." Kurupt was featured on Flesh-N-Bone's song "Kurupted Flesh" on the 5th Dog Let Loose. Krayzie Bone also featured on Daz Dillinger's 2008 solo album Only on the Left Side on the song "Meal Ticket" and later on the song "Money Fold'N" on Tha Dogg Pound's 2009 album That Was Then, This Is Now.
Tha Dogg Pound were also involved in a feud with B.G. Knocc Out & Dresta. In response to Eazy-E's Real Muthaphukkin G's and Kokane & Cold 187um's "Don't Bite The Funk", Tha Dogg Pound along with Snoop Dogg made a track called "What Would You Do" with such lines as: "Fuck B.G. Knocc Out and every nigga down with him." Later B.G. Knocc Out & Dresta retaliated with the song "D.P.G. Killa", on their debut album Real Brothas. They have since squashed the beef and released a song called "Blaze It Up", as a bonus track on Tha Dogg Pound's Dogg Chit album.
The duo engaged in yet another conflict, the beef Suge and new signee 2Pac initiated against Bad Boy Entertainment's Puff Daddy and Notorious B.I.G.; Daz and Kurupt would expand the feud to include Capone-N-Noreaga, Tragedy Khadafi and Mobb Deep with their Snoop-assisted single "New York, New York."
In late 2002, Kurupt shocked the entire DPGC and fans alike, when he accepted the job of executive producer at Death Row Records. Daz, Soopafly, Snoop Dogg, and the rest of DPGC viewed this as betrayal and took many shots and dissed Kurupt harshly for making the move. Kurupt did the same claiming they all were wrong to have turned their backs on Death Row. They declared war between both camps and that he was not the one who changed, rather them.
The rap duo heavily dissed each other from 2003 to late 2004, both recording diss albums against each other. Daz took aim at Kurupt and Death Row with his single "U Ain't Shit" featuring Bad Azz and another song "I Don't Give a Fucc" which is sung over the beat to 50 Cent's In Da Club. Kurupt responded heavily with his Originals album which featured many disses throughout nearly every song, most notably the bonus track "Eat a Dicc (Fucc Daz)".
Reunion and Cali Iz Active (2005–2006)
The feud continued until early 2005 when Kurupt and Daz made a truce. The struggling Death Row Records failed to promote Kurupt's album Against Tha Grain and the duo began to feel remorse for one another. Kurupt left Death Row apparently along with their former Tha Dogg Pound alias and reunited with Daz. The duo started rapping together again and even made a new album together entitled Dillinger & Young Gotti II: Tha Saga Continuez. After The Western Conference in 2005 the two of them agreed to revitalize the DPGC by working together once again on an album with Snoop Dogg, Soopafly, Nate Dogg, Warren G, RBX, Lady of Rage and Lil' ½ Dead with Snoop taking over the producing and distributing tasks for it.
Tha Dogg Pound then released a joint venture reunion comeback project the next year in 2006 called Cali Iz Active under the aegis of Snoop Dogg's Doggystyle Records with the main single "Cali Iz Active" featuring Snoop Dogg and a wide range of new producers throughout the album.
New releases and future projects (2007–present)
Tha Dogg Pound released the album Dogg Chit independently on March 27, 2007, touting it as a sequel to their debut. In August 2007 it was announced that the duo was in the process of signing to Cash Money Records; their next album was announced as Westcoast Aftershocc. The pair released the singles "Ch-Ching" and "Mystic River" from the album, but when the deal stalled, they postponed the project in favor of a separate album, 100 Wayz. Tha Dogg Pound began putting out singles for the latter album as early as 2008, releasing "Cheat" featuring Pharrell and following up with "They Don't Want It" featuring Soopafly, and "Get My Drink on & My Smoke On." Although 100 Wayz was expected for release that year, it was postponed due to a dispute with Koch Records head Alan Grunblatt; instead, they released the album That Was Then, This is Now, which included the singles originally intended for 100 Wayz, in late 2009.
After putting out the compilation album Keep on Ridin in May 2010, 100 Wayz finally saw release in July of that year. Since then, the duo announced several projects, including Dillinger & Young Gotti III: Get Paid, a collaboration album with Pete Rock, and a re-announcement of the album Westcoast Aftershocc for 2011, as well as several solo projects from Kurupt working with various producers, from DJ Premier and Pete Rock to Fredwreck. However, their only releases of late have been Kurupt's solo album Street Lights and two projects from Daz Dillinger.
Recently, tha Dogg Pound has been involved in various side projects; Kurupt announced the formation of supergroup 1st Generation, made up of himself, King Tee, Sir Jinx, Gangsta of tha Comradz and MC Eiht and producer Tha Chill of Compton's Most Wanted. Both Kurupt and Daz have formed a supergroup called the N'Matez consisting of themselves, the Lady of Rage, and RBX. In December 2011, Tha Dogg Pound put out the single "Forever in a Day," featuring Snoop Dogg, although they have not announced whether it is attached to a specific project. A few days later, the duo announced that their next group album will be entitled Alumni and is set to be executive produced by Snoop Dogg and Dr. Dre, who will be co-producing and/or mixing several of the beats. The album will mark the first time a member of Tha Dogg Pound has collaborated with Dr. Dre since Kurupt's appearances on the producer's album 2001, and the first time Dre has collaborated with Tha Dogg Pound as a duo since he mixed their debut album, Dogg Food. On December 2, 2012, Tha Dogg Pound released a collaboration mixtape with Snoop Dogg titled That's My Work Vol. 1.
In 2021, Tha Dogg Pound is prepping to released their "Dogg Food II" album with the lead single "Let's Roll" debuted in late 2020. Their follow-up single "Nice & Slow" was released in July 2021 and featured Snoop Dogg.
D.P.G.C.
An extended family, referred to as DPGC (short for Dogg Pound Gangsta Clicc), is made up of Tha Dogg Pound, Snoop Dogg, and various affiliated artists and groups from both the Death Row Records, G-Funk Records, DPG Recordz, Antra Music Group and Dogg House Records eras, including Nate Dogg, Warren G, Lil' ½ Dead, Tha Eastsidaz, LBC Crew, Bad Azz, Tray Dee, Soopafly, RBX, Lady of Rage, Al B. Sure!, Crystal DPG and others. The group made its debut with the LP, DPGC: The Remix released in 2002.
Discography
Studio albums
Dogg Food (1995)
Dillinger & Young Gotti (2001)
Dillinger & Young Gotti II: Tha Saga Continuez... (2005)
Cali Iz Active (2006)
Dogg Chit (2007)
That Was Then, This Is Now (2009)
100 Wayz (2010)
DPG 4 Life (2021)
Awards
Grammy Award nominations
Tha Dogg Pound has been nominated for one Grammy Award but has not yet won an award .
References
External links
New Dogg Pound, "Dogg Chit", Album On The Way
Hip hop groups from California
Death Row Records artists
Musical groups established in 1992
1992 establishments in California
Musical groups disestablished in 2002
Musical groups reestablished in 2005
Musical groups from Los Angeles
Snoop Dogg
American musical duos
Hip hop duos
African-American musical groups
Gangsta rap groups
West Coast hip hop groups
| true |
[
"Against the Grain is the fourth studio album by American rapper Kurupt and his first on Death Row Records as a solo artist. Kurupt signed back onto Death Row Records, except as a solo artist in 2002. The album was delay from its planned 2004 release and was released in August 2005. It was Death Row's first freshly recorded album in over four years. The album went almost unnoticed due to the lack of promotion by Koch Records, which distributes all of Death Row's albums. It was the final original album released by the label during its original run, before being revived with BODR by Snoop Dogg 17 years later.\n\nProduction\nCertain tracks were removed and others added. The cut tracks were later released on a bootleg compilation titled Against tha Grain E.P.. The track \"Calico\" featuring The Dayton Family was also on their album Family Feud.\n\nCritical reception\n\nCommercial performance\nThe album peaked at number 60 on the Billboard 200 on September 2005.\n\nReissue\nThe album was reissued in February 2010, under the title Down and Dirty, with a slightly altered tracklist.\n\nTrack listing\n\nReferences\n\nDeath Row Records albums\n2004 albums\nKurupt albums",
"G-Funk Classics, Vol. 1 & 2 is the debut studio album by American hip hop recording artist Nate Dogg. The album was originally to be released through Death Row Records in January 1997, but the album was shelved due to legal problems at Death Row Records, and he wasn't able to release it until the summer of 1998. By that time, the popularity of West Coast hip hop had greatly diminished and the album only managed to make it to number 58 on the Billboard 200 and number 20 on the Top R&B/Hip-Hop Albums. The album did produce four singles with two top 40 singles, however, \"Never Leave Me Alone\", which was released on October 22, 1996 through Death Row Records and peaked at number 33 on the Billboard Hot 100.\n\n\"Nobody Does It Better\", which became his biggest hit as a solo artist, peaking at number 18 on the Hot 100, \"These Days\", released through Death Row Records and \"I Don't Wanna Hurt No More\", released in 1998 through Breakaway. The song \"These Days\" was previously featured on the first disc of soundtrack of the movie Gang Related, released in 1997 through Death Row Records and the song was released as a 12\" promo on the B-side on 2Pac's single \"Lost Souls\", also on the soundtrack. It also had a release in 1997 as a promo version through Death Row Records The track listing of the original print included an error, \"Crazy, Dangerous\" was credited as featuring Big Syke. The LP sold around 33,000 copies in the first week.\nThe first volume was recorded during his tenure at Death Row Records, while the second volume was recorded after.\n\nBackground\nThe album was first advertised by Death Row Records four years prior to its release.\n\nTrack listing\n\nCharts\n\nSamples\n\"She's Strange\" contains an interpolation of \"She's Strange\" performed by Cameo.\n\nReferences\n\n1998 debut albums\nNate Dogg albums\nG-funk albums\nAlbums produced by Daz Dillinger\nAlbums produced by L.T. Hutton\nAlbums produced by Soopafly\nAlbums produced by Teddy Riley\nAlbums produced by Johnny \"J\"\nAlbums produced by Warren G"
] |
[
"Tha Dogg Pound",
"Death Row years (1991-1998)",
"What did Tha Dogg Pound do in the Death Row years?",
"they released their debut album Dogg Food under Death Row Records.",
"Did they have a top song that was a hit on the album?",
"\"Let's Play House\" was the biggest hit,",
"How well did the album do on the charts?",
"breaking into the Top 50 of the Hot 100,",
"What year was their album Dogg Food released?",
"1995,",
"Was their any famous rapper featured on this album?",
"Kurupt, Daz, and Snoop",
"Did they release another album during their Death Row years?",
"All Eyez on Me with Kurupt"
] |
C_33681fda5e1b4eb3971dd629c6afa4cc_1
|
What year was this album released?
| 7 |
What year was the All Eyez on Me with Kurupt album released?
|
Tha Dogg Pound
|
Before The Chronic album came out, Kurupt & Daz were solo artists, however having heard the chemistry the two had whilst recording the album, Dr. Dre suggested they make a group. The two went on to feature on Doggystyle and various features and soundtracks as Tha Dogg Pound. Between 1993-1994, the group assisted Hammer on his The Funky Headhunter album (such as the song "Sleepin' on a Master Plan" and others), along with Suge Knight and the Whole 9. In 1995, they released their debut album Dogg Food under Death Row Records. The album debuted #1 on the Billboard 200 and went on to reach 2x platinum status. It was quite a success. "Let's Play House" was the biggest hit, breaking into the Top 50 of the Hot 100, while "New York, New York" was an MTV favorite; in the video for the latter, Kurupt, Daz, and Snoop stomped Godzilla-like around the Big Apple, taunting their East Coast rivals. In the October that followed, towards the end of the same year, Tupac Shakur had been bailed out of jail by Death Row's Suge Knight in exchange for releasing his following four albums on Death Row Records. In 1996, Tha Dogg Pound were featured on 2Pac's widely acclaimed Death Row Records debut album All Eyez on Me with Kurupt featured in "Got My Mind Made Up" and "Check Out Time" and Daz Dillinger producing the hit songs "2 Of Amerikaz Most Wanted", "Ambitionz Az A Ridah", and "I Ain't Mad At Cha" among other tracks which solidified his status as a talented and successful producer. In early September of the same year, Shakur was murdered in Las Vegas, Nevada. Kurupt and Daz were deeply affected by this and struggled to release anything after Shakur's passing. 7 years later in a 2003 interview, Daz stated that he now believed Suge Knight was responsible for Shakur's murder. They remained active thereafter, rapping on Snoop's Tha Doggfather in 1996. Tha Dogg Pound was an integral part of the Death Row Records empire, which cast a tall shadow over rap music in the early to mid-'90s. CANNOTANSWER
|
1996,
|
Tha Dogg Pound is an American hip hop duo made up of rappers Kurupt and Daz Dillinger. They were signed to Death Row Records in their early careers and were key to the label's success.
Kurupt and Daz went on to release solo albums starting in 1998. They eventually left the crumbling Death Row Records in 1999. Daz left due to long-lasting internal struggles on the label after friend and labelmate Tupac Shakur's murder in 1996. Kurupt started Antra Records, while Daz and Soopafly started D.P.G. Recordz. In 2002 a feud arose between the two when Kurupt decided to sign back with Death Row Records, upsetting everyone involved with the group. His awaited Death Row release Against Tha Grain had been postponed several times while Kurupt was on the label, later being released in August 2005, after he was off. In January 2005, Daz made another solo album release titled Tha Dogg Pound Gangsta LP. Tha Dogg Pound then got back together as a group and released Dillinger & Young Gotti II in November 2005. In 2006, Snoop Dogg executive produced released their official reunion album Cali Iz Active.
History
Death Row years (1992–1998)
Before The Chronic album came out, Kurupt and Daz were solo artists, however having heard the chemistry they had whilst recording the album, Dr. Dre suggested they make a group. The two went on to feature on Doggystyle and various features and soundtracks as Tha Dogg Pound.
Between 1993 and 1994, the group assisted Hammer on his The Funky Headhunter album (such as the song "Sleepin' on a Master Plan" and others), along with Suge Knight and the Whole 9.
In 1995, they released their debut album Dogg Food under Death Row Records. The album debuted #1 on the Billboard 200 and went on to reach twice platinum status. "Let's Play House" was the biggest hit, breaking into the Top 50 of the Billboard Hot 100, while "New York, New York" was an MTV favorite; in the video for the latter, Daz and Snoop stomped Godzilla-like around the Big Apple, taunting their East Coast rivals. In the October that followed, towards the end of the same year, Tupac Shakur had been bailed out of jail by Death Row's Suge Knight in exchange for releasing his following four albums on Death Row Records.
In 1996, Tha Dogg Pound were featured on 2Pac's Death Row Records debut album All Eyez on Me with Kurupt featured in "Got My Mind Made Up" and "Check Out Time" and Daz Dillinger producing the hit songs "2 Of Amerikaz Most Wanted", "Ambitionz Az A Ridah", and "I Ain't Mad At Cha". In early September of the same year, Shakur was murdered in Las Vegas, Nevada. Kurupt and Daz were deeply affected by this and struggled to release anything after Shakur's passing. Seven years later in a 2003 interview, Daz stated that he now believed Suge Knight was responsible for Shakur's murder. They remained active thereafter, rapping on Snoop's Tha Doggfather in 1996.
Kurupt and Daz leave Death Row (1999–2001)
In 1997, Kurupt left Death Row but remained in Tha Dogg Pound. Kurupt released two solo albums in 1998 (Kuruption!) and 1999 (Tha Streetz Iz a Mutha) that had Daz Dillinger and the rest of DPG on them. However, in 1998 Daz was making noise of his own over at Death Row and released his only Death Row album (Retaliation, Revenge and Get Back) which went gold. Afterward, he made his own label called Mobstyle Muzik, in which he had his first taste of the independent scene. Mobstyle's first release Poppa Snoop Presents Mobstyle Muzik Volume 1 failed and Daz returned to Death Row. He later started up DPG Recordz along with Christopher "Big C-Style" Bowden through Death Row Records.
Daz also eventually parted ways with Death Row in late 1999 and released his first independent album R.A.W. in 2000. That was followed by the D.P.G. album from Tha Dogg Pound entitled Dillinger & Young Gotti. After Tha Dogg Pound's full departure from Death Row, Suge Knight claimed ownership of the name "Tha Dogg Pound" and any tracks recorded prior to them leaving. To avoid a legal battle at the time, Daz changed their marketing name to D.P.G. short for Dogg Pound Gangstaz. In 2001, Suge Knight released a Dogg Pound album entitled 2002, which consisted of unreleased Dogg Pound tracks. Soopafly's songs were featured on his 2001 solo album Dat Whoopty Woop.
External matters
Over the years Tha Dogg Pound had beef with Bone Thugs-N-Harmony, due to Death Row Records being embroiled in a feud with Eazy-E's Ruthless Records. Tha Dogg Pound made a diss towards The Bone Thugs, on the song "Dogg Pound Gangstaz", with Kurupt's line "Ain't got no love for no hoes in harmony." In response Layzie Bone shot back on the track "Shotz to tha Double Glock" with the line "Dogg Pound hoes it's on." "Krayzie Bone says "Gotta find these 'Row Hoes" in the song "Mo' Murda" off the East 99 album. The feud ended when Snoop Dogg and Kurupt were featured on Krayzie Bone's album Thug Mentality 1999 in the song "The War Iz On." Kurupt was featured on Flesh-N-Bone's song "Kurupted Flesh" on the 5th Dog Let Loose. Krayzie Bone also featured on Daz Dillinger's 2008 solo album Only on the Left Side on the song "Meal Ticket" and later on the song "Money Fold'N" on Tha Dogg Pound's 2009 album That Was Then, This Is Now.
Tha Dogg Pound were also involved in a feud with B.G. Knocc Out & Dresta. In response to Eazy-E's Real Muthaphukkin G's and Kokane & Cold 187um's "Don't Bite The Funk", Tha Dogg Pound along with Snoop Dogg made a track called "What Would You Do" with such lines as: "Fuck B.G. Knocc Out and every nigga down with him." Later B.G. Knocc Out & Dresta retaliated with the song "D.P.G. Killa", on their debut album Real Brothas. They have since squashed the beef and released a song called "Blaze It Up", as a bonus track on Tha Dogg Pound's Dogg Chit album.
The duo engaged in yet another conflict, the beef Suge and new signee 2Pac initiated against Bad Boy Entertainment's Puff Daddy and Notorious B.I.G.; Daz and Kurupt would expand the feud to include Capone-N-Noreaga, Tragedy Khadafi and Mobb Deep with their Snoop-assisted single "New York, New York."
In late 2002, Kurupt shocked the entire DPGC and fans alike, when he accepted the job of executive producer at Death Row Records. Daz, Soopafly, Snoop Dogg, and the rest of DPGC viewed this as betrayal and took many shots and dissed Kurupt harshly for making the move. Kurupt did the same claiming they all were wrong to have turned their backs on Death Row. They declared war between both camps and that he was not the one who changed, rather them.
The rap duo heavily dissed each other from 2003 to late 2004, both recording diss albums against each other. Daz took aim at Kurupt and Death Row with his single "U Ain't Shit" featuring Bad Azz and another song "I Don't Give a Fucc" which is sung over the beat to 50 Cent's In Da Club. Kurupt responded heavily with his Originals album which featured many disses throughout nearly every song, most notably the bonus track "Eat a Dicc (Fucc Daz)".
Reunion and Cali Iz Active (2005–2006)
The feud continued until early 2005 when Kurupt and Daz made a truce. The struggling Death Row Records failed to promote Kurupt's album Against Tha Grain and the duo began to feel remorse for one another. Kurupt left Death Row apparently along with their former Tha Dogg Pound alias and reunited with Daz. The duo started rapping together again and even made a new album together entitled Dillinger & Young Gotti II: Tha Saga Continuez. After The Western Conference in 2005 the two of them agreed to revitalize the DPGC by working together once again on an album with Snoop Dogg, Soopafly, Nate Dogg, Warren G, RBX, Lady of Rage and Lil' ½ Dead with Snoop taking over the producing and distributing tasks for it.
Tha Dogg Pound then released a joint venture reunion comeback project the next year in 2006 called Cali Iz Active under the aegis of Snoop Dogg's Doggystyle Records with the main single "Cali Iz Active" featuring Snoop Dogg and a wide range of new producers throughout the album.
New releases and future projects (2007–present)
Tha Dogg Pound released the album Dogg Chit independently on March 27, 2007, touting it as a sequel to their debut. In August 2007 it was announced that the duo was in the process of signing to Cash Money Records; their next album was announced as Westcoast Aftershocc. The pair released the singles "Ch-Ching" and "Mystic River" from the album, but when the deal stalled, they postponed the project in favor of a separate album, 100 Wayz. Tha Dogg Pound began putting out singles for the latter album as early as 2008, releasing "Cheat" featuring Pharrell and following up with "They Don't Want It" featuring Soopafly, and "Get My Drink on & My Smoke On." Although 100 Wayz was expected for release that year, it was postponed due to a dispute with Koch Records head Alan Grunblatt; instead, they released the album That Was Then, This is Now, which included the singles originally intended for 100 Wayz, in late 2009.
After putting out the compilation album Keep on Ridin in May 2010, 100 Wayz finally saw release in July of that year. Since then, the duo announced several projects, including Dillinger & Young Gotti III: Get Paid, a collaboration album with Pete Rock, and a re-announcement of the album Westcoast Aftershocc for 2011, as well as several solo projects from Kurupt working with various producers, from DJ Premier and Pete Rock to Fredwreck. However, their only releases of late have been Kurupt's solo album Street Lights and two projects from Daz Dillinger.
Recently, tha Dogg Pound has been involved in various side projects; Kurupt announced the formation of supergroup 1st Generation, made up of himself, King Tee, Sir Jinx, Gangsta of tha Comradz and MC Eiht and producer Tha Chill of Compton's Most Wanted. Both Kurupt and Daz have formed a supergroup called the N'Matez consisting of themselves, the Lady of Rage, and RBX. In December 2011, Tha Dogg Pound put out the single "Forever in a Day," featuring Snoop Dogg, although they have not announced whether it is attached to a specific project. A few days later, the duo announced that their next group album will be entitled Alumni and is set to be executive produced by Snoop Dogg and Dr. Dre, who will be co-producing and/or mixing several of the beats. The album will mark the first time a member of Tha Dogg Pound has collaborated with Dr. Dre since Kurupt's appearances on the producer's album 2001, and the first time Dre has collaborated with Tha Dogg Pound as a duo since he mixed their debut album, Dogg Food. On December 2, 2012, Tha Dogg Pound released a collaboration mixtape with Snoop Dogg titled That's My Work Vol. 1.
In 2021, Tha Dogg Pound is prepping to released their "Dogg Food II" album with the lead single "Let's Roll" debuted in late 2020. Their follow-up single "Nice & Slow" was released in July 2021 and featured Snoop Dogg.
D.P.G.C.
An extended family, referred to as DPGC (short for Dogg Pound Gangsta Clicc), is made up of Tha Dogg Pound, Snoop Dogg, and various affiliated artists and groups from both the Death Row Records, G-Funk Records, DPG Recordz, Antra Music Group and Dogg House Records eras, including Nate Dogg, Warren G, Lil' ½ Dead, Tha Eastsidaz, LBC Crew, Bad Azz, Tray Dee, Soopafly, RBX, Lady of Rage, Al B. Sure!, Crystal DPG and others. The group made its debut with the LP, DPGC: The Remix released in 2002.
Discography
Studio albums
Dogg Food (1995)
Dillinger & Young Gotti (2001)
Dillinger & Young Gotti II: Tha Saga Continuez... (2005)
Cali Iz Active (2006)
Dogg Chit (2007)
That Was Then, This Is Now (2009)
100 Wayz (2010)
DPG 4 Life (2021)
Awards
Grammy Award nominations
Tha Dogg Pound has been nominated for one Grammy Award but has not yet won an award .
References
External links
New Dogg Pound, "Dogg Chit", Album On The Way
Hip hop groups from California
Death Row Records artists
Musical groups established in 1992
1992 establishments in California
Musical groups disestablished in 2002
Musical groups reestablished in 2005
Musical groups from Los Angeles
Snoop Dogg
American musical duos
Hip hop duos
African-American musical groups
Gangsta rap groups
West Coast hip hop groups
| true |
[
"Feel What U Feel is a children's album by American musician Lisa Loeb. The album was released on October 7, 2016, and the album's first single was \"Feel What U Feel.\" The album won Best Children's Album at the 60th Annual Grammy Awards.\n\nRelease \nThe album was announced on September 8, 2016 with the release of the lead single \"Feel What U Feel,\" featuring Craig Robinson. The album was then released by Furious Rose Productions on October 7, 2016 as an Amazon Music exclusive.\n\nPromotion \nLisa Loeb Embarked a small tour to promote the Children's album in the Fall of 2016 & Winter of 2017. Despite going on a children's tour, Lisa performed many of her \"Adult\" and \"Older\" songs. Lisa also constantly played her songs on \"Kids Place Live Radio\" for nearly 1 year after release.\n\nSingles \n\"Feel What U Feel\" was released as the album's lead single of September 8, 2016. The second single, \"Moon Star Pie (It's Gunna Be Alright)\" was released on October 7, 2016. The third single, \"Wanna Do Day\" ft. Ed Helms was released on January 12, 2017. The fourth and final single of the album, \"The Sky Is Always Blue\" was released on March 13, 2017.\n\nTrack listing\n\nReferences \n\n2016 albums\nChildren's music albums\nLisa Loeb albums",
"Gloria! is the eighth studio album released by American singer-songwriter Gloria Estefan, released on June 2, 1998, by Epic Records.\n\nBackground\nGloria! is a dance and house album which was a departure from Estefan's previous works. Though dance elements had been featured in previous recordings, this was her first album to consist entirely of upbeat club music.\n\nThe album spawned four singles and one promotional single. \"Heaven's What I Feel\" was released as the first single from the album and peaked at number 27 on the Billboard Hot 100. \"Oye!\" was released as the second single from the album, however, its release as a physical single was canceled in the United States. The song peaked at number 1 on the Hot Dance Music/Club Play, Hot Latin Tracks, and the Latin Tropical/Salsa Airplay charts. \"Don't Let This Moment End\" was released as the third single from the album and peaked at number 76 on the Billboard Hot 100. In Spain, \"Cuba Libre\" was released as a fourth single and \"Don't Stop\" was released promotionally. Though they did not feature any tracks from Gloria!, the extended plays \"Bailando!\" and \"Partytime!\" were released exclusively at Target stores as a form of promotion for the album.\n\nSeveral nominations were received for the album's singles. \"Heaven's What I Feel\" received a Grammy Music Award nomination for \"Best Dance Recording\", as did \"Don't Let This Moment End\" the following year. Estefan received a Grammy nomination for \"Best Video, Long Form\" for the album's supplementary DVD Don't Stop!. Estefan received the Billboard Latin Music Award for \"Best Latin Dance Club Play Track of the Year\" for \"Oye!\" and received an Alma Award for the music video for \"Heaven's What I Feel\".\n\nTrack listing\n\nCharts\n\nWeekly charts\n\nYear-end charts\n\nCertifications and sales\n\nAccolades\n\nRelease history\n\nReferences\n\n1998 albums\nGloria Estefan albums\nDance music albums by American artists\nAlbums produced by Emilio Estefan"
] |
[
"The Verve",
"A Northern Soul and first break-up (1995-1996)"
] |
C_9dcad5746e944bc2af815a8d7b1dabe6_0
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when was the fiirst break up
| 1 |
When was the first break up of The Verve?
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The Verve
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The band's physical and mental turmoil continued into the chaotic recording sessions of the band's second album, 1995's A Northern Soul, produced by Owen Morris. The band departed from the experimental psychedelic sounds of A Storm in Heaven and focused more on conventional alternative rock, with Ashcroft's vocals taking a more prominent role in the songs, although reminiscent of some of the early work. Around this period, Oasis guitarist and friend of Ashcroft, Noel Gallagher, dedicated the song "Cast No Shadow" on the album (What's the Story) Morning Glory? to Ashcroft, and Ashcroft returned the gesture by dedicating the song "A Northern Soul" to Noel. The band released the album's first single "This Is Music" in May, and it reached No. 35, their first single to reach the Top 40. It was followed by "On Your Own" in June which performed even better, reaching No. 28. This single was particularly new for the Verve as it was a soulful ballad. The album reached the UK Top 20 upon its release in July, but Ashcroft broke up the band three months later, just before the release of the third single "History", which reached No. 24 in September. Ashcroft later stated: "I knew that I had to do it earlier on, but I just wouldn't face it. Once you're not happy in anything, there's no point living in it, is there? But my addiction to playing and writing and being in this band was so great that I wouldn't do anything about it. It felt awful because it could have been the greatest time of our lives, with "History" doing well, but I still think I can look myself in the mirror in 30 years time and say, 'Yeah man, you did the right thing.' The others had been through the same thing. It was a mixture of sadness and regret, and relief that we would have some time away." Ashcroft reunited with Jones and Salisbury just a few weeks after the break-up, but McCabe did not rejoin them. The new band hired former Suede guitarist Bernard Butler, but he spent only a couple of days with the band. The band then chose Simon Tong, a school friend credited with originally teaching Ashcroft and Jones to play guitar. The band made no live appearances for all of 1996, apart from a solo performance from Ashcroft supporting Oasis in New York. The rest of the year was spent playing and recording songs for a new album. CANNOTANSWER
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Ashcroft broke up the band three months later, just before the release of the third single "History",
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The Verve was an English rock band formed in Wigan in 1990 by lead vocalist Richard Ashcroft, guitarist Nick McCabe, bass guitarist Simon Jones and drummer Peter Salisbury. Guitarist and keyboard player Simon Tong later became a member in their first reunion only.
Beginning with a psychedelic sound with their debut LP A Storm in Heaven, by the mid-1990s the band had released several EPs and three albums. They also endured name and line-up changes, break-ups, health problems, drug abuse and various lawsuits. The band's commercial breakthrough was the 1997 album Urban Hymns, one of the best-selling albums in UK Chart history. The album features the hit singles "Bitter Sweet Symphony", "The Drugs Don't Work", "Sonnet" and "Lucky Man". In 1998, the band won two Brit Awards, winning Best British Group, appeared on the cover of Rolling Stone magazine in March, and in February 1999, "Bitter Sweet Symphony" was nominated for the Grammy Award for Best Rock Song.
Soon after their commercial peak, the Verve disbanded in April 1999, citing internal conflicts. According to Billboard magazine, "the group's rise was the culmination of a long, arduous journey that began at the dawn of the decade and went on to encompass a major breakup, multiple lawsuits, and an extensive diet of narcotics". During an eight-year split, Ashcroft dismissed talk of a reunion, saying: "You're more likely to get all four Beatles on stage." The band's original line-up reunited in June 2007, embarking on a tour later that year and releasing the album Forth in August 2008, which spawned the hit single "Love Is Noise". Amid revived tensions, the band broke up for the third time in 2008 following their final performance together at the V Festival, but the band didn't disclose this information until 2009.
History
Formation and Verve (1990–1992)
The founding members of the Verve met at Winstanley Sixth Form College, in Wigan, Greater Manchester, when Liam Begley introduced Richard Ashcroft to the other band members. The band was initially known as just "Verve", and their first gig was at a friend's 18th birthday party at the Honeysuckle Inn, in Wigan, on 15 August 1990. Most of the band's early material was created through extensive jam sessions. Fronted by Ashcroft, the band caused a buzz in early 1991 for their ability to captivate audiences with their musical textures and avant-garde sensibilities.
The group were signed by Hut Records in 1991 and their first studio releases in 1992, "All in the Mind", "She's a Superstar", and "Gravity Grave" (along with the December 1992 EP Verve) saw the band become a critical success, making an impression with freeform guitar work by McCabe and unpredictable vocals by Ashcroft. Those first three singles reached the first spot in the UK Indie charts, and "She's a Superstar" entered the UK Top 75 Singles Chart. The band saw some support from these early days in the United States in some music scenes in big cities like New York connected with psychedelic music.
A Storm in Heaven (1993–1994)
1993's A Storm in Heaven was the band's full-length debut, produced by record producer John Leckie. "Blue" was released as the lead single and again managed to enter in the UK Top 75 at No. 69 and reached No. 2 in the Indie charts. The album was a critical success, but was only a moderate commercial success, reaching No. 27 in the UK album chart that summer. The second single from the album, "Slide Away", topped the UK indie rock charts. During this period the band played a number of gigs with Oasis who, at the time, were relatively unknown. Furthermore, the band supported The Smashing Pumpkins on the European Part of their Siamese Dream Tour in autumn of 1993.
In 1994, the band released the album No Come Down, a compilation of b-sides plus a live version of "Gravity Grave" performed at Glastonbury Festival in 1993. It was the band's first release under the name "The Verve", following legal difficulties with jazz label Verve Records. The band then played on the travelling US alternative rock festival, Lollapalooza, in the summer of 1994. A new mix of "Blue" was released in the US to promote the band. The tour became notorious for the events of 11 July – Ashcroft was hospitalised for dehydration after a massive session of drinking and Salisbury was arrested for destroying a hotel room in Kansas in a drug-fuelled delirium. However, the band were performing again the very next day. Ashcroft later recalled: "At the start, it was an adventure, but America nearly killed us."
A Northern Soul and first break-up (1995–1996)
The Verve's physical and mental turmoil continued into the chaotic recording sessions of their second album, 1995's A Northern Soul, produced by Owen Morris. The band departed from the experimental psychedelic sounds of A Storm in Heaven and focused more on conventional alternative rock, with Ashcroft's vocals taking a more prominent role in the songs, although reminiscent of some of the early work. Around this period, Oasis guitarist and friend of Ashcroft, Noel Gallagher, dedicated the song "Cast No Shadow" on the album (What's the Story) Morning Glory? to Ashcroft, who returned the gesture by dedicating the song "A Northern Soul" to Gallagher.
The band released the album's first single "This Is Music" in May, and it reached No. 35, their first single to reach the Top 40. It was followed by "On Your Own" in June which performed even better, reaching No. 28. This single was particularly new for the Verve as it was a soulful ballad. The album reached the UK Top 20 upon its release in July, but Ashcroft broke up the band three months later, just before the release of the third single "History", which reached No. 24 in September. Ashcroft later stated: "I knew that I had to do it earlier on, but I just wouldn't face it. Once you're not happy in anything, there's no point living in it, is there? But my addiction to playing and writing and being in this band was so great that I wouldn't do anything about it. It felt awful because it could have been the greatest time of our lives, with "History" doing well, but I still think I can look myself in the mirror in 30 years time and say, 'Yeah man, you did the right thing.' The others had been through the same thing. It was a mixture of sadness and regret, and relief that we would have some time away."
Ashcroft reunited with Jones and Salisbury just a few weeks after the break-up, but McCabe did not rejoin them. The new band hired former Suede guitarist Bernard Butler, but he spent only a couple of days with the band. The band then chose Simon Tong, a school friend credited with originally teaching Ashcroft and Jones to play guitar. The band made no live appearances in 1996, apart from a solo performance from Ashcroft supporting Oasis in New York; the year was spent playing and recording songs for a new album.
Commercial success and second break-up (1997–1999)
In early 1997, Ashcroft asked McCabe to return, stating: "I got to the point where nothing other than The Verve would do for me". McCabe obliged and with the new line-up in place (Tong remained on guitar alongside McCabe), the group went through a "spiritual" recording process to finish their third album Urban Hymns, which was completed by early summer.
For the first time in their career, The Verve experienced widespread commercial success with their new material. The album's first single "Bitter Sweet Symphony" entered the UK charts at number 2 in June 1997, but its success was marred by legal problems regarding ownership of the song. Even though the group had secured permission from Decca to use a sample of 4 bars of an orchestral rendition of "The Last Time" by The Rolling Stones, giving 50% of the royalties to the original and named authors Mick Jagger & Keith Richards, they released the single without getting explicit permission from the administrator of the song's rights. When they retrospectively applied, Allen Klein, who administers the rights to the music via his company ABKCO Records, demanded 100% royalties and full publishing credits to Mick Jagger and Keith Richards. The music video for "Bitter Sweet Symphony", which received heavy rotation on MTV, focuses on Ashcroft lip-synching the song while walking down a busy London pavement, oblivious to what is going on around and refusing to change his stride or direction throughout.
In August 1997, the band began playing their first gigs in two years, beginning the Urban Hymns Tour. The next single, "The Drugs Don't Work" gave the band their first UK number 1 single in September. The album immediately reached number 1 on the charts later that month, knocking off Oasis' highly anticipated album Be Here Now in the process. The band saw an overwhelming increase in popularity overseas, and "Bitter Sweet Symphony" reached number 12 on the US charts, the band's highest ever American position. The album reached the US Top 30, going platinum in the process. Critic Mike Gee of iZINE said of this time, "The Verve, as he (Richard Ashcroft) promised, had become the greatest band in the world. ...The Verve were no longer the question mark or the cliché. They were the statement and the definition." By November the band released "Lucky Man" in the UK and reached number 7. At the 1998 Brit Awards, The Verve won the awards for Best British Group and Best British Album (Urban Hymns). The band's singles were given extensive airplay on US rock stations and Ashcroft, and bandmates, appeared on the cover of Rolling Stone magazine in March 1998. Then, as the band was on a successful tour to promote the album, Jones collapsed on stage. This was the first of many problems to come for the band in the next months. In 1998, McCabe, Tong, Jones and drummer Leon Parr formerly with Mr. So & So and Mosque were commissioned for a soundtrack for a Jonny Lee Miller film which was recorded in Kilburn. These never made it to the final film due to delays on their part. At the 1998 MTV Video Music Awards, "Bitter Sweet Symphony" was nominated for Video of the Year, Best Group Video, and Best Alternative Video.
On 24 May of that year, the band played a homecoming concert in front of 33,000 fans in the grounds of Haigh Hall & Country Park, Aspull, supported by Beck and John Martyn. The band then played gigs in mainland Europe, but, on 7 June, a post-show bust-up at Düsseldorf-Philipshalle left McCabe with a broken hand and Ashcroft with a sore jaw. After this, McCabe decided he could not tolerate the pressures of life on the road any longer and pulled out of the tour, leaving the band's future in jeopardy, with rumours of a split circulating in the press. Despite this, the band continued with session guitarist B. J. Cole replacing McCabe, whose guitar work was also sampled and triggered on stage. The band played another American tour, which was riddled with problems as venues were downsized and support act Massive Attack dropped out. The band then returned to England for two headline performances at the V Festival, which received poor reviews, with NME stating "where songs used to spiral upwards and outwards, they now simply fizzle tamely." In February 1999, "Bitter Sweet Symphony" was nominated for the Grammy Award for Best Rock Song. The Verve played their last gig at Slane Castle in Ireland on 29 August. A long period of inactivity followed. Finally, in April 1999, it was announced that The Verve had again split up.
Post-breakup activities (2000–2006)
By the time the band had split, Ashcroft had already been working on solo material accompanied by, among others, Salisbury and Cole. In 2000, he released his first solo album, Alone with Everybody, which reached number 1 in the UK album charts. Ashcroft's next album, Human Conditions, was released to poorer sales in 2002, and Ashcroft was subsequently absent from the music business for several years. During this time Salisbury was the drummer for Black Rebel Motorcycle Club's UK tour in 2004, after their original drummer briefly left due to alcohol and drug abuse. Salisbury also owns a drum shop in Stockport. Ashcroft appeared with Coldplay at Live 8 in 2005, followed by the release of Keys to the World in 2006 and a particularly successful tour that included gigs as the support act for Coldplay's Twisted Logic Tour.
Jones and Tong formed The Shining, who released one album, before disbanding in 2003. Jones went on to work with Irish musician Cathy Davey. Tong became a live replacement for ex-guitarist Graham Coxon in Blur, an additional guitarist for Gorillaz (both Jones and Tong played guitar for Demon Days Live), and a member of The Good, the Bad & the Queen. McCabe worked in different projects like the London-based Neotropic project and played with some established artists, including John Martyn, The Music, The Beta Band and Faultline.
The Verve's members sometimes expressed bitter sentiments about the band's later years. In his only interview after the split, McCabe said of Urban Hymns: "By the time I got my parts in there it's not really a music fan's record. It just sits nicely next to the Oasis record", though conceding, "I'm not going to say it was bad. I mean, we were good as far as pop goes". During his solo career, Ashcroft expressed regret at having asked McCabe to return for the album instead of releasing it under his own name, saying: "Imagine being the guy that's written an album on his own, bottles it near the end, feels like there's unfinished business, rings Nick McCabe up who adds some guitars, puts it out as the Verve and the same problems arise again. Imagine being that mug. I've now got to rewrite history. Everyone thinks those songs are somehow associated with another bunch of people that I'm not with now". Jones claimed that "The Verve were going off in a direction of strings and ballads, and that's not where I was coming from at all. Loud guitars is it for me", though noting that this was not why the band split up.
Reunion and Forth (2007–2008)
Ashcroft had been adamant that The Verve would not re-form, once remarking: "You're more likely to get all four Beatles on stage". However, after Ashcroft learned that Salisbury was in contact with McCabe over a possible side project, Ashcroft contacted McCabe and Jones, making peace with them, and the band re-formed. Tong was not asked to rejoin, so as to keep the internal issues that split the band up a decade ago to an absolute minimum. Jones explained this decision by stating: "It would have been too hard, it's hard enough for the four of us. If you bring more people to it, it's harder to communicate and communication has always been our difficulty". Paradoxically, Nick McCabe would state years later on his Twitter account, that he intended to include Davide Rossi (violist) as a new member of the group. On 26 June 2007, the band's reunion was announced by Jo Whiley on BBC Radio 1. The band, reuniting in their original line-up, announced they would tour in November 2007, and release an album in 2008. The band stated: "We are getting back together for the joy of music", though they turned down a multi-album deal offer "because the 'treadmill' of releasing albums and touring marked the beginning of the end for the band a decade ago".
Tickets for their six-gig tour in early November 2007 sold out in less than 20 minutes. The tour began in Glasgow on 2 November, and included 6 performances at the Carling Academy Glasgow, The Empress Ballroom and the London Roundhouse. Since the 6-gig tour went extremely well in sales, the band booked a second, bigger tour for December. They played at O2 arena, the SECC in Glasgow, the Odyssey in Belfast, the Nottingham Arena and Manchester Central. Each show from the first and second part of the tour were sold out immediately. The band continued touring in 2008. They played at most of the biggest summer festivals and a few headline shows all over North America, Europe, Japan and the UK between April and August. Including shows at the Coachella Valley Music and Arts Festival, also at the Madison Square Garden Theater, and the Pinkpop festival, Glastonbury Festival, T in the Park, the V Festival, Oxegen Festival, Rock Werchter, Rock am Ring and Rock im Park and The Eden Project Sessions.
New single "Love Is Noise" was premiered by Zane Lowe on BBC Radio 1 on 23 June. They performed at the coveted Sunday night slot on the Pyramid Stage at Glastonbury on 29 June, closing the show with the new song. The Verve released a free download of a non-album track, "Mover", on 30 June. The song had been performed by the band in 1994, but had never seen a proper recording until the reunion. The track was available for download from their official website for one week only.
The band announced the new album's title: Forth, which was released in the UK on 25 August and the following day in North America. The album reached No. 1 on the UK Albums Chart on 31 August. The lead single "Love Is Noise" was released in the UK on 3 August digitally and one week later (11 August) on its physical form, peaking at No. 4 in the UK. The song was a moderate success in Europe, charting at No. 16 in the European chart (with 6 weeks in the Top 20). "Rather Be", the second single from the album, was released in November but did not become as successful as "Love Is Noise" was, peaking at number 56 on the UK Singles Chart.
Third break-up (2009–present)
In August 2009, The Guardian speculated that the Verve had broken up for a third time, with Jones and McCabe no longer on speaking terms with Ashcroft as they felt he was using the reunion as a vehicle to get his solo career back on track. Being asked about the supposed split, Ashcroft told The Daily Telegraph, "I can confirm we did what we set out to do [...] Right now there are no plans to be doing anything in the near future."
McCabe and Jones have since started their own project, The Black Ships, who later changed their name to Black Submarine, along with electric violinist and arranger Davide Rossi (who also served as a touring musician of the Verve) and drummer Mig Schillace. In September 2017, Nick McCabe noted that he had not spoken to Ashcroft for over a year and that a possible reunion would be unlikely in the foreseeable future. It also saw the release of the 20th Anniversary version of Urban Hymns.
In May 2019, Ashcroft received the Ivor Novello Award for Outstanding Contribution to British Music from the British Academy of Songwriters, Composers, and Authors. At the ceremony Ashcroft revealed that following negotiations with Klein's son, Jody, and the Rolling Stones' manager Joyce Smith the dispute had been settled, stating:
Band members
Official members
Richard Ashcroft – lead and backing vocals, rhythm guitar, keyboards, percussion, kazoo (1990–1995, 1996–1999, 2007–2009)
Nick McCabe – lead guitar, keyboards, accordion (1990–1995, 1997–1998, 2007–2009)
Simon Jones – bass, occasional backing vocals (1990–1995, 1996–1999, 2007–2009)
Peter Salisbury – drums, percussion (1990–1995, 1996–1999, 2007–2009)
Simon Tong – rhythm and lead guitar, keyboards (1996–1999)
Live or session members
Bernard Butler – lead guitar (1996)
B. J. Cole – pedal steel guitar (1998)
Davide Rossi – electric viola (2008)
Timeline
Discography
A Storm in Heaven (1993)
A Northern Soul (1995)
Urban Hymns (1997)
Forth (2008)
Awards and nominations
BMI Pop Awards
|-
| 1999
| "Bitter Sweet Symphony"
| Award-Winning Song
|
D&AD Awards
|-
| 1998
| "Bitter Sweet Symphony"
| Pop Promo Video with a budget over £40.000
| style="background:#BF8040"| Wood Pencil
Denmark GAFFA Awards
!Ref.
|-
| rowspan=4|1998
| Themselves
| Best Foreign Band
|
|rowspan=4|
|-
| Urban Hymns
| Best Foreign Album
|
|-
| "Bitter Sweet Symphony"
| rowspan=2|Best Foreign Hit
|
|-
| "The Drugs Don't Work"
|
ECHO Awards
|-
| 1998
| Themselves
| Best International Newcomer
|
Grammy Awards
|-
| rowspan="2" | 1999 || rowspan="2" | "Bitter Sweet Symphony" || Best Rock Performance by a Duo or Group with Vocal ||
|-
| Best Rock Song ||
|}
Hungarian Music Awards
|-
| 2009
| Forth
| Alternative Music Album of the Year
|
Ivor Novello Awards
|-
| rowspan="2" | 1998 || Richard Ashcroft || Songwriter of the Year ||
|-
| "The Drugs Don't Work" || Best Contemporary Song ||
|}
MTV Europe Music Awards
|-
| 1997 || Themselves || Best Alternative ||
|}
Mercury Prize
|-
| 1998 || Urban Hymns || Album of the Year ||
|}
NME Awards
|-
| 1996
|A Northern Soul
| rowspan=2|Best Album
|
|-
| rowspan="6" | 1998
| Urban Hymns
|
|-
| Themselves || Best Band ||
|-
| rowspan="2" | "Bitter Sweet Symphony" || Best Music Video ||
|-
| rowspan=3|Best Single ||
|-
| "The Drugs Don't Work"
|
|-
| "Lucky Man"
|
|-
| 1999
| Themselves
| Best Band
|
|}
Q Awards
|-
| 1997 || Themselves || Best Live Act ||
|-
| 2007 || Urban Hymns || Classic Album ||
|-
| 2008 || Themselves || Best Live Act ||
|}
Brit Awards
|-
| rowspan="5" | 1998 || rowspan="2" | "Bitter Sweet Symphony" || British Single of the Year ||
|-
| British Video of the Year ||
|-
| Urban Hymns || British Album of the Year ||
|-
| rowspan="3" | Themselves || British Producer of the Year ||
|-
| British Group ||
|-
| 2009 || British Live Act ||
|}
Pollstar Concert Industry Awards
|-
| 1998
| Themselves
| Club Tour of the Year
|
Rockbjornen
|-
| rowspan="2" | 1997 || Themselves || Best Foreign Group ||
|-
| Urban Hymns || Best Foreign Album ||
|}
UK Festival Awards
|-
| rowspan="2"|2008
| Themselves
| Festival Headline Act
|
|-
| "Love is Noise"
| Anthem of the Summer
|
Žebřík Music Awards
!Ref.
|-
| rowspan=3|1997
| Themselves
| Best International Surprise
|
| rowspan=3|
|-
| rowspan="2" | "Bitter Sweet Symphony"
| Best International Song
|
|-
| Best International Video
|
References
External links
(defunct since 29 June 2013)
1990 establishments in England
1995 disestablishments in England
1997 establishments in England
1999 disestablishments in England
2007 establishments in England
2009 disestablishments in England
Brit Award winners
Britpop groups
English alternative rock groups
English psychedelic rock music groups
Neo-psychedelia groups
Music in the Metropolitan Borough of Wigan
Musical groups from Greater Manchester
Musical groups established in 1990
Musical groups reestablished in 1997
Musical groups disestablished in 1999
Musical groups reestablished in 2007
Musical groups disestablished in 2009
Musical quartets
Parlophone artists
Virgin Records artists
| true |
[
"\"When I Start To (Break It All Down)\" is a single by English synthpop duo Erasure, released as the lead single from their 2011 album Tomorrow's World. The song was written by Andy Bell and Vince Clarke, whilst it was produced by electropop musician Frankmusik who produced the rest of the Tomorrow's World album.\n\nBackground\nThe song was released on 23 September 2011, and received its first UK airplay on BBC Radio 2's Ken Bruce show on 15 August.\n\nIt was the first eligible single (discounting remixed versions of hit singles), since the duo's formation in 1985, not to chart in the top 100 in the UK. The song peaked at #172 in the UK. In November 2011, the song peaked at #25 on the American Billboard Dance/Club Play Songs Chart.\n\nAn official YouTube short film featured the duo speaking of the album. In this film, it was stated that the original leading single from the album was to be \"You've Got to Save Me Right Now\" until \"When I Start To (Break It All Down)\" replaced it at short notice. Bell stated \"Usually we don't choose the singles, you kind of have an instinctive feeling sometimes. In this instance, \"When I Start To (Break It All Down)\" took over from \"Save Me\" because we thought the song had gone in the direction that sounded really good.\"\n\nThe song originally had the demo title \"Tender\", where it was loosely based on the Elvis Presley song \"Love Me Tender\". In the short film on the album, Clarke stated the track got \"mashed up into what it is now\", noting \"to me now it sounds like Tears for Fears.\"\n\nMute Records released a live video clip for the song as its official music video. This clip used footage recorded during the Total Pop Tour in the summer of 2011, most of them coming from the first of two Dublin gigs played in June 2011. It was released officially onto YouTube on 18 November 2011.\n\nThe song was performed live on the Tomorrow's World tour, where an official rehearsal video was uploaded onto YouTube in early September, featuring the duo in London rehearsing the song in full.\n\nRelease\nThe single was released on CD, where a single version of \"When I Start To (Break It All Down)\" was used as the main track.\n\nThe b-side \"Tomorrow's World\" is an instrumental track, exclusive to the single, written by Richard Denton and Martin Cook. The track was originally released in 1980 as the theme from the BBC TV series of the same name.\n\nA total of 9 remixes were created for the track, not including the album, radio edit and single version of the track. Four remixes were created by the House music duo Steve Smart & Westfunk, three remixes by German DJ/producer Kris Menace, one by Little Loud and one by Frankmusik.\n\nIn Europe, the single was released with five tracks, the single version of the song, the b-side, the \"Steve Smart & Westfunk Main Room Mix Edit\", the \"Kris Menace Remix\" and the \"(Little Loud Remix)\". In France, a cardboard sleeve edition of the single was released.\n\nVarious promotional versions of the single were released. In the UK, a one track promo was released, containing the radio version of the song. A European promo contained the single version and the \"Steve Smart & Westfunk Main Room Radio Edit\". In Greece, a promotional single featured both the single and album version, all four Steve Smart & Westfunk remixes and two Kris Menace remixes. Another promotional single grouped all of the song's remixes, along with the radio edit and album version, except for the \"Steve Smart & Westfunk Club Mix\".\n\nIn America, the song was not officially released as a single but as a promotional single instead. This release featured three Steve Smart & Westfunk remixes, two Kris Menace remixes and the Little Loud remix.\n\nFor the Deluxe 2-Disc Set of Tomorrow's World, the Frankmusik Remix of the song featured as a bonus track.\n\nThe single's cover is similar to the Tomorrow's World album, where like the album, the artwork was created by Tom Hingston using sculptures made by Kate MacDowell.\n\nTrack listing\nCD Single (UK and Europe)\n\"When I Start To (Break It All Down)\" - 3:34\n\"Tomorrow's World\" - 4:18\n\"When I Start To (Break It All Down)\" (Steve Smart & Westfunk Main Room Mix Edit) - 4:23\n\"When I Start To (Break It All Down)\" (Kris Menace Remix) - 5:24\n\"When I Start To (Break It All Down)\" (Little Loud Remix) - 4:36\n\nCD Single (European Promo)\n\"When I Start To (Break It All Down)\" (Single Version) - 3:33\n\"When I Start To (Break It All Down)\" (Steve Smart & Westfunk Main Room Radio Edit) - 4:04\n\nCD Single (UK Promo)\n\"When I Start To (Break It All Down)\" (Radio Version) - 3:45\n\nCD Single (Greek Promo)\n\"When I Start To (Break It All Down)\" (Single Version) - 3:34\n\"When I Start To (Break It All Down)\" (Album Version) - 3:45\n\"When I Start To (Break It All Down)\" (Steve Smart & Westfunk Main Room Radio Edit) - 4:02\n\"When I Start To (Break It All Down)\" (Steve Smart & Westfunk Main Room Edit) - 4:20\n\"When I Start To (Break It All Down)\" (Steve Smart & Westfunk Club Mix) - 6:19\n\"When I Start To (Break It All Down)\" (Steve Smart & Westfunk Main Room Dub Mix) - 6:19\n\"When I Start To (Break It All Down)\" (Kris Menace Club Remix) - 5:12\n\"When I Start To (Break It All Down)\" (Kris Menace Remix) - 5:23\n\nCD Single (American Promo)\n\"When I Start To (Break It All Down)\" (Steve Smart & Westfunk Main Room Edit) - 4:21\n\"When I Start To (Break It All Down)\" (Steve Smart & Westfunk Club Mix) - 6:19\n\"When I Start To (Break It All Down)\" (Steve Smart & Westfunk Main Room Dub) - 6:19\n\"When I Start To (Break It All Down)\" (Kris Menace Remix) - 5:12\n\"When I Start To (Break It All Down)\" (Kris Menace Club Remix) - 5:23\n\"When I Start To (Break It All Down)\" (Little Loud Remix) - 4:34\n\nCD Single (Promo)\n\"When I Start To (Break It All Down)\" (Radio Edit) - 3:35\n\"When I Start To (Break It All Down)\" (Album Version) - 3:45\n\"When I Start To (Break It All Down)\" (Steve Smart & Westfunk Edit) - 4:20\n\"When I Start To (Break It All Down)\" (Steve Smart & Westfunk Mix) - 6:18\n\"When I Start To (Break It All Down)\" (Steve Smart & Westfunk Dub) - 6:18\n\"When I Start To (Break It All Down)\" (Kris Menace Remix) - 5:11\n\"When I Start To (Break It All Down)\" (Kris Menace Club Remix) - 5:22\n\"When I Start To (Break It All Down)\" (Kris Menace Instrumental) - 3:31\n\"When I Start To (Break It All Down)\" (Little Loud Remix) - 4:36\n\"When I Start To (Break It All Down)\" (Frankmusik Remix) - 4:58\n\"Tomorrow's World\" - 4:15\n\nCritical reception\nIn a review for the Tomorrow's World album, Allmusic.com wrote \"Fans get to experience Vince Clarke's fingerprints on \"Fill Us with Fire\" and \"When I Start To (Break It All Down),\" as the recent reunion of his Yaz project is reflected in the nocturnal synth pop and soul muscle driving these highlights.\"\n\nAllmusic.com picks the track as an AMG recommended track.\n\nChart performance\n\nPersonnel \n Design – Tom Hingston Studio\n Design (Sculptures) – Kate Macdowell\n Photography – Dan Kvitka\n Assistant Engineer - Neil Quinlan\n Mixer – Robert Orton\n Mixer of \"Tomorrow's World\" - Timothy \"Q\" Wiles\n Producer – Frankmusik\n Producer, programmer, instrumentation on \"Tomrorow's World\" - Vince Clarke\n Remixers - Steve Smart & Westfunk, Kris Menace, Little Loud, Frankmusik\n Programmed, Instrumentation by, Keyboards, Piano – Frankmusik, Vince Clarke\n Keyboards on \"(Steve Smart & Westfunk Main Room Mix Edit)\" - Danny Dove, Steve Smart\n Drums, Keyboards on \"(Kris Menace Remix)\" - Christoph Hoeffel, Walter Schmidt\n Writers of \"When I Start To (Break It All Down)\" - Andy Bell, Vince Clarke\n Writers of \"Tomorrow's World\" - Richard Denton, Martin Cook\n\nReferences\n\n2011 singles\nErasure songs\nSongs written by Vince Clarke\nSongs written by Andy Bell (singer)\nMute Records singles",
"Woo! Yeah! is a drum break that includes Bobby Byrd's (\"Yeah!\") and James Brown's (\"Woo!\") voices which has been widely sampled in popular music, often in the form of a loop. The drum break was performed by John \"Jabo\" Starks. It originates from the 1972 Lyn Collins recording \"Think (About It)\", a song written and produced by Brown, and is just one of a few other frequently used breaks contained in the recording, often collectively known as the Think Break.\n\nBackground and impact \nIn 1987, \"Think (About It)\" was featured on the 16th volume of the drum break compilation Ultimate Breaks & Beats, a highly popular series among hip hop producers. That year marked the first known use of the \"Woo! Yeah!\" break, when the Beatmasters, a UK hip hop production trio, sampled the break for Cookie Crew's song \"Females (Get On Up)\". While \"Females\" was a minor hit in the UK, the break did not receive major airplay and attention until the following year, when it was used as the backing loop for the track \"It Takes Two\" by MC Rob Base & DJ E-Z Rock. The song, which is almost entirely composed of sampled parts from \"Think (About It)\", became a platinum-selling hit.\n\nIt became almost ubiquitous in dance and hip hop records during the late 1980s and early 1990s and continues to see use.\n\nReferences\n\nSampling (music)\nSampled drum breaks\nJames Brown\n1972 compositions"
] |
[
"The Verve",
"A Northern Soul and first break-up (1995-1996)",
"when was the fiirst break up",
"Ashcroft broke up the band three months later, just before the release of the third single \"History\","
] |
C_9dcad5746e944bc2af815a8d7b1dabe6_0
|
was history a success
| 2 |
Was "History" by The Verve a success
|
The Verve
|
The band's physical and mental turmoil continued into the chaotic recording sessions of the band's second album, 1995's A Northern Soul, produced by Owen Morris. The band departed from the experimental psychedelic sounds of A Storm in Heaven and focused more on conventional alternative rock, with Ashcroft's vocals taking a more prominent role in the songs, although reminiscent of some of the early work. Around this period, Oasis guitarist and friend of Ashcroft, Noel Gallagher, dedicated the song "Cast No Shadow" on the album (What's the Story) Morning Glory? to Ashcroft, and Ashcroft returned the gesture by dedicating the song "A Northern Soul" to Noel. The band released the album's first single "This Is Music" in May, and it reached No. 35, their first single to reach the Top 40. It was followed by "On Your Own" in June which performed even better, reaching No. 28. This single was particularly new for the Verve as it was a soulful ballad. The album reached the UK Top 20 upon its release in July, but Ashcroft broke up the band three months later, just before the release of the third single "History", which reached No. 24 in September. Ashcroft later stated: "I knew that I had to do it earlier on, but I just wouldn't face it. Once you're not happy in anything, there's no point living in it, is there? But my addiction to playing and writing and being in this band was so great that I wouldn't do anything about it. It felt awful because it could have been the greatest time of our lives, with "History" doing well, but I still think I can look myself in the mirror in 30 years time and say, 'Yeah man, you did the right thing.' The others had been through the same thing. It was a mixture of sadness and regret, and relief that we would have some time away." Ashcroft reunited with Jones and Salisbury just a few weeks after the break-up, but McCabe did not rejoin them. The new band hired former Suede guitarist Bernard Butler, but he spent only a couple of days with the band. The band then chose Simon Tong, a school friend credited with originally teaching Ashcroft and Jones to play guitar. The band made no live appearances for all of 1996, apart from a solo performance from Ashcroft supporting Oasis in New York. The rest of the year was spent playing and recording songs for a new album. CANNOTANSWER
|
reached No. 24 in September.
|
The Verve was an English rock band formed in Wigan in 1990 by lead vocalist Richard Ashcroft, guitarist Nick McCabe, bass guitarist Simon Jones and drummer Peter Salisbury. Guitarist and keyboard player Simon Tong later became a member in their first reunion only.
Beginning with a psychedelic sound with their debut LP A Storm in Heaven, by the mid-1990s the band had released several EPs and three albums. They also endured name and line-up changes, break-ups, health problems, drug abuse and various lawsuits. The band's commercial breakthrough was the 1997 album Urban Hymns, one of the best-selling albums in UK Chart history. The album features the hit singles "Bitter Sweet Symphony", "The Drugs Don't Work", "Sonnet" and "Lucky Man". In 1998, the band won two Brit Awards, winning Best British Group, appeared on the cover of Rolling Stone magazine in March, and in February 1999, "Bitter Sweet Symphony" was nominated for the Grammy Award for Best Rock Song.
Soon after their commercial peak, the Verve disbanded in April 1999, citing internal conflicts. According to Billboard magazine, "the group's rise was the culmination of a long, arduous journey that began at the dawn of the decade and went on to encompass a major breakup, multiple lawsuits, and an extensive diet of narcotics". During an eight-year split, Ashcroft dismissed talk of a reunion, saying: "You're more likely to get all four Beatles on stage." The band's original line-up reunited in June 2007, embarking on a tour later that year and releasing the album Forth in August 2008, which spawned the hit single "Love Is Noise". Amid revived tensions, the band broke up for the third time in 2008 following their final performance together at the V Festival, but the band didn't disclose this information until 2009.
History
Formation and Verve (1990–1992)
The founding members of the Verve met at Winstanley Sixth Form College, in Wigan, Greater Manchester, when Liam Begley introduced Richard Ashcroft to the other band members. The band was initially known as just "Verve", and their first gig was at a friend's 18th birthday party at the Honeysuckle Inn, in Wigan, on 15 August 1990. Most of the band's early material was created through extensive jam sessions. Fronted by Ashcroft, the band caused a buzz in early 1991 for their ability to captivate audiences with their musical textures and avant-garde sensibilities.
The group were signed by Hut Records in 1991 and their first studio releases in 1992, "All in the Mind", "She's a Superstar", and "Gravity Grave" (along with the December 1992 EP Verve) saw the band become a critical success, making an impression with freeform guitar work by McCabe and unpredictable vocals by Ashcroft. Those first three singles reached the first spot in the UK Indie charts, and "She's a Superstar" entered the UK Top 75 Singles Chart. The band saw some support from these early days in the United States in some music scenes in big cities like New York connected with psychedelic music.
A Storm in Heaven (1993–1994)
1993's A Storm in Heaven was the band's full-length debut, produced by record producer John Leckie. "Blue" was released as the lead single and again managed to enter in the UK Top 75 at No. 69 and reached No. 2 in the Indie charts. The album was a critical success, but was only a moderate commercial success, reaching No. 27 in the UK album chart that summer. The second single from the album, "Slide Away", topped the UK indie rock charts. During this period the band played a number of gigs with Oasis who, at the time, were relatively unknown. Furthermore, the band supported The Smashing Pumpkins on the European Part of their Siamese Dream Tour in autumn of 1993.
In 1994, the band released the album No Come Down, a compilation of b-sides plus a live version of "Gravity Grave" performed at Glastonbury Festival in 1993. It was the band's first release under the name "The Verve", following legal difficulties with jazz label Verve Records. The band then played on the travelling US alternative rock festival, Lollapalooza, in the summer of 1994. A new mix of "Blue" was released in the US to promote the band. The tour became notorious for the events of 11 July – Ashcroft was hospitalised for dehydration after a massive session of drinking and Salisbury was arrested for destroying a hotel room in Kansas in a drug-fuelled delirium. However, the band were performing again the very next day. Ashcroft later recalled: "At the start, it was an adventure, but America nearly killed us."
A Northern Soul and first break-up (1995–1996)
The Verve's physical and mental turmoil continued into the chaotic recording sessions of their second album, 1995's A Northern Soul, produced by Owen Morris. The band departed from the experimental psychedelic sounds of A Storm in Heaven and focused more on conventional alternative rock, with Ashcroft's vocals taking a more prominent role in the songs, although reminiscent of some of the early work. Around this period, Oasis guitarist and friend of Ashcroft, Noel Gallagher, dedicated the song "Cast No Shadow" on the album (What's the Story) Morning Glory? to Ashcroft, who returned the gesture by dedicating the song "A Northern Soul" to Gallagher.
The band released the album's first single "This Is Music" in May, and it reached No. 35, their first single to reach the Top 40. It was followed by "On Your Own" in June which performed even better, reaching No. 28. This single was particularly new for the Verve as it was a soulful ballad. The album reached the UK Top 20 upon its release in July, but Ashcroft broke up the band three months later, just before the release of the third single "History", which reached No. 24 in September. Ashcroft later stated: "I knew that I had to do it earlier on, but I just wouldn't face it. Once you're not happy in anything, there's no point living in it, is there? But my addiction to playing and writing and being in this band was so great that I wouldn't do anything about it. It felt awful because it could have been the greatest time of our lives, with "History" doing well, but I still think I can look myself in the mirror in 30 years time and say, 'Yeah man, you did the right thing.' The others had been through the same thing. It was a mixture of sadness and regret, and relief that we would have some time away."
Ashcroft reunited with Jones and Salisbury just a few weeks after the break-up, but McCabe did not rejoin them. The new band hired former Suede guitarist Bernard Butler, but he spent only a couple of days with the band. The band then chose Simon Tong, a school friend credited with originally teaching Ashcroft and Jones to play guitar. The band made no live appearances in 1996, apart from a solo performance from Ashcroft supporting Oasis in New York; the year was spent playing and recording songs for a new album.
Commercial success and second break-up (1997–1999)
In early 1997, Ashcroft asked McCabe to return, stating: "I got to the point where nothing other than The Verve would do for me". McCabe obliged and with the new line-up in place (Tong remained on guitar alongside McCabe), the group went through a "spiritual" recording process to finish their third album Urban Hymns, which was completed by early summer.
For the first time in their career, The Verve experienced widespread commercial success with their new material. The album's first single "Bitter Sweet Symphony" entered the UK charts at number 2 in June 1997, but its success was marred by legal problems regarding ownership of the song. Even though the group had secured permission from Decca to use a sample of 4 bars of an orchestral rendition of "The Last Time" by The Rolling Stones, giving 50% of the royalties to the original and named authors Mick Jagger & Keith Richards, they released the single without getting explicit permission from the administrator of the song's rights. When they retrospectively applied, Allen Klein, who administers the rights to the music via his company ABKCO Records, demanded 100% royalties and full publishing credits to Mick Jagger and Keith Richards. The music video for "Bitter Sweet Symphony", which received heavy rotation on MTV, focuses on Ashcroft lip-synching the song while walking down a busy London pavement, oblivious to what is going on around and refusing to change his stride or direction throughout.
In August 1997, the band began playing their first gigs in two years, beginning the Urban Hymns Tour. The next single, "The Drugs Don't Work" gave the band their first UK number 1 single in September. The album immediately reached number 1 on the charts later that month, knocking off Oasis' highly anticipated album Be Here Now in the process. The band saw an overwhelming increase in popularity overseas, and "Bitter Sweet Symphony" reached number 12 on the US charts, the band's highest ever American position. The album reached the US Top 30, going platinum in the process. Critic Mike Gee of iZINE said of this time, "The Verve, as he (Richard Ashcroft) promised, had become the greatest band in the world. ...The Verve were no longer the question mark or the cliché. They were the statement and the definition." By November the band released "Lucky Man" in the UK and reached number 7. At the 1998 Brit Awards, The Verve won the awards for Best British Group and Best British Album (Urban Hymns). The band's singles were given extensive airplay on US rock stations and Ashcroft, and bandmates, appeared on the cover of Rolling Stone magazine in March 1998. Then, as the band was on a successful tour to promote the album, Jones collapsed on stage. This was the first of many problems to come for the band in the next months. In 1998, McCabe, Tong, Jones and drummer Leon Parr formerly with Mr. So & So and Mosque were commissioned for a soundtrack for a Jonny Lee Miller film which was recorded in Kilburn. These never made it to the final film due to delays on their part. At the 1998 MTV Video Music Awards, "Bitter Sweet Symphony" was nominated for Video of the Year, Best Group Video, and Best Alternative Video.
On 24 May of that year, the band played a homecoming concert in front of 33,000 fans in the grounds of Haigh Hall & Country Park, Aspull, supported by Beck and John Martyn. The band then played gigs in mainland Europe, but, on 7 June, a post-show bust-up at Düsseldorf-Philipshalle left McCabe with a broken hand and Ashcroft with a sore jaw. After this, McCabe decided he could not tolerate the pressures of life on the road any longer and pulled out of the tour, leaving the band's future in jeopardy, with rumours of a split circulating in the press. Despite this, the band continued with session guitarist B. J. Cole replacing McCabe, whose guitar work was also sampled and triggered on stage. The band played another American tour, which was riddled with problems as venues were downsized and support act Massive Attack dropped out. The band then returned to England for two headline performances at the V Festival, which received poor reviews, with NME stating "where songs used to spiral upwards and outwards, they now simply fizzle tamely." In February 1999, "Bitter Sweet Symphony" was nominated for the Grammy Award for Best Rock Song. The Verve played their last gig at Slane Castle in Ireland on 29 August. A long period of inactivity followed. Finally, in April 1999, it was announced that The Verve had again split up.
Post-breakup activities (2000–2006)
By the time the band had split, Ashcroft had already been working on solo material accompanied by, among others, Salisbury and Cole. In 2000, he released his first solo album, Alone with Everybody, which reached number 1 in the UK album charts. Ashcroft's next album, Human Conditions, was released to poorer sales in 2002, and Ashcroft was subsequently absent from the music business for several years. During this time Salisbury was the drummer for Black Rebel Motorcycle Club's UK tour in 2004, after their original drummer briefly left due to alcohol and drug abuse. Salisbury also owns a drum shop in Stockport. Ashcroft appeared with Coldplay at Live 8 in 2005, followed by the release of Keys to the World in 2006 and a particularly successful tour that included gigs as the support act for Coldplay's Twisted Logic Tour.
Jones and Tong formed The Shining, who released one album, before disbanding in 2003. Jones went on to work with Irish musician Cathy Davey. Tong became a live replacement for ex-guitarist Graham Coxon in Blur, an additional guitarist for Gorillaz (both Jones and Tong played guitar for Demon Days Live), and a member of The Good, the Bad & the Queen. McCabe worked in different projects like the London-based Neotropic project and played with some established artists, including John Martyn, The Music, The Beta Band and Faultline.
The Verve's members sometimes expressed bitter sentiments about the band's later years. In his only interview after the split, McCabe said of Urban Hymns: "By the time I got my parts in there it's not really a music fan's record. It just sits nicely next to the Oasis record", though conceding, "I'm not going to say it was bad. I mean, we were good as far as pop goes". During his solo career, Ashcroft expressed regret at having asked McCabe to return for the album instead of releasing it under his own name, saying: "Imagine being the guy that's written an album on his own, bottles it near the end, feels like there's unfinished business, rings Nick McCabe up who adds some guitars, puts it out as the Verve and the same problems arise again. Imagine being that mug. I've now got to rewrite history. Everyone thinks those songs are somehow associated with another bunch of people that I'm not with now". Jones claimed that "The Verve were going off in a direction of strings and ballads, and that's not where I was coming from at all. Loud guitars is it for me", though noting that this was not why the band split up.
Reunion and Forth (2007–2008)
Ashcroft had been adamant that The Verve would not re-form, once remarking: "You're more likely to get all four Beatles on stage". However, after Ashcroft learned that Salisbury was in contact with McCabe over a possible side project, Ashcroft contacted McCabe and Jones, making peace with them, and the band re-formed. Tong was not asked to rejoin, so as to keep the internal issues that split the band up a decade ago to an absolute minimum. Jones explained this decision by stating: "It would have been too hard, it's hard enough for the four of us. If you bring more people to it, it's harder to communicate and communication has always been our difficulty". Paradoxically, Nick McCabe would state years later on his Twitter account, that he intended to include Davide Rossi (violist) as a new member of the group. On 26 June 2007, the band's reunion was announced by Jo Whiley on BBC Radio 1. The band, reuniting in their original line-up, announced they would tour in November 2007, and release an album in 2008. The band stated: "We are getting back together for the joy of music", though they turned down a multi-album deal offer "because the 'treadmill' of releasing albums and touring marked the beginning of the end for the band a decade ago".
Tickets for their six-gig tour in early November 2007 sold out in less than 20 minutes. The tour began in Glasgow on 2 November, and included 6 performances at the Carling Academy Glasgow, The Empress Ballroom and the London Roundhouse. Since the 6-gig tour went extremely well in sales, the band booked a second, bigger tour for December. They played at O2 arena, the SECC in Glasgow, the Odyssey in Belfast, the Nottingham Arena and Manchester Central. Each show from the first and second part of the tour were sold out immediately. The band continued touring in 2008. They played at most of the biggest summer festivals and a few headline shows all over North America, Europe, Japan and the UK between April and August. Including shows at the Coachella Valley Music and Arts Festival, also at the Madison Square Garden Theater, and the Pinkpop festival, Glastonbury Festival, T in the Park, the V Festival, Oxegen Festival, Rock Werchter, Rock am Ring and Rock im Park and The Eden Project Sessions.
New single "Love Is Noise" was premiered by Zane Lowe on BBC Radio 1 on 23 June. They performed at the coveted Sunday night slot on the Pyramid Stage at Glastonbury on 29 June, closing the show with the new song. The Verve released a free download of a non-album track, "Mover", on 30 June. The song had been performed by the band in 1994, but had never seen a proper recording until the reunion. The track was available for download from their official website for one week only.
The band announced the new album's title: Forth, which was released in the UK on 25 August and the following day in North America. The album reached No. 1 on the UK Albums Chart on 31 August. The lead single "Love Is Noise" was released in the UK on 3 August digitally and one week later (11 August) on its physical form, peaking at No. 4 in the UK. The song was a moderate success in Europe, charting at No. 16 in the European chart (with 6 weeks in the Top 20). "Rather Be", the second single from the album, was released in November but did not become as successful as "Love Is Noise" was, peaking at number 56 on the UK Singles Chart.
Third break-up (2009–present)
In August 2009, The Guardian speculated that the Verve had broken up for a third time, with Jones and McCabe no longer on speaking terms with Ashcroft as they felt he was using the reunion as a vehicle to get his solo career back on track. Being asked about the supposed split, Ashcroft told The Daily Telegraph, "I can confirm we did what we set out to do [...] Right now there are no plans to be doing anything in the near future."
McCabe and Jones have since started their own project, The Black Ships, who later changed their name to Black Submarine, along with electric violinist and arranger Davide Rossi (who also served as a touring musician of the Verve) and drummer Mig Schillace. In September 2017, Nick McCabe noted that he had not spoken to Ashcroft for over a year and that a possible reunion would be unlikely in the foreseeable future. It also saw the release of the 20th Anniversary version of Urban Hymns.
In May 2019, Ashcroft received the Ivor Novello Award for Outstanding Contribution to British Music from the British Academy of Songwriters, Composers, and Authors. At the ceremony Ashcroft revealed that following negotiations with Klein's son, Jody, and the Rolling Stones' manager Joyce Smith the dispute had been settled, stating:
Band members
Official members
Richard Ashcroft – lead and backing vocals, rhythm guitar, keyboards, percussion, kazoo (1990–1995, 1996–1999, 2007–2009)
Nick McCabe – lead guitar, keyboards, accordion (1990–1995, 1997–1998, 2007–2009)
Simon Jones – bass, occasional backing vocals (1990–1995, 1996–1999, 2007–2009)
Peter Salisbury – drums, percussion (1990–1995, 1996–1999, 2007–2009)
Simon Tong – rhythm and lead guitar, keyboards (1996–1999)
Live or session members
Bernard Butler – lead guitar (1996)
B. J. Cole – pedal steel guitar (1998)
Davide Rossi – electric viola (2008)
Timeline
Discography
A Storm in Heaven (1993)
A Northern Soul (1995)
Urban Hymns (1997)
Forth (2008)
Awards and nominations
BMI Pop Awards
|-
| 1999
| "Bitter Sweet Symphony"
| Award-Winning Song
|
D&AD Awards
|-
| 1998
| "Bitter Sweet Symphony"
| Pop Promo Video with a budget over £40.000
| style="background:#BF8040"| Wood Pencil
Denmark GAFFA Awards
!Ref.
|-
| rowspan=4|1998
| Themselves
| Best Foreign Band
|
|rowspan=4|
|-
| Urban Hymns
| Best Foreign Album
|
|-
| "Bitter Sweet Symphony"
| rowspan=2|Best Foreign Hit
|
|-
| "The Drugs Don't Work"
|
ECHO Awards
|-
| 1998
| Themselves
| Best International Newcomer
|
Grammy Awards
|-
| rowspan="2" | 1999 || rowspan="2" | "Bitter Sweet Symphony" || Best Rock Performance by a Duo or Group with Vocal ||
|-
| Best Rock Song ||
|}
Hungarian Music Awards
|-
| 2009
| Forth
| Alternative Music Album of the Year
|
Ivor Novello Awards
|-
| rowspan="2" | 1998 || Richard Ashcroft || Songwriter of the Year ||
|-
| "The Drugs Don't Work" || Best Contemporary Song ||
|}
MTV Europe Music Awards
|-
| 1997 || Themselves || Best Alternative ||
|}
Mercury Prize
|-
| 1998 || Urban Hymns || Album of the Year ||
|}
NME Awards
|-
| 1996
|A Northern Soul
| rowspan=2|Best Album
|
|-
| rowspan="6" | 1998
| Urban Hymns
|
|-
| Themselves || Best Band ||
|-
| rowspan="2" | "Bitter Sweet Symphony" || Best Music Video ||
|-
| rowspan=3|Best Single ||
|-
| "The Drugs Don't Work"
|
|-
| "Lucky Man"
|
|-
| 1999
| Themselves
| Best Band
|
|}
Q Awards
|-
| 1997 || Themselves || Best Live Act ||
|-
| 2007 || Urban Hymns || Classic Album ||
|-
| 2008 || Themselves || Best Live Act ||
|}
Brit Awards
|-
| rowspan="5" | 1998 || rowspan="2" | "Bitter Sweet Symphony" || British Single of the Year ||
|-
| British Video of the Year ||
|-
| Urban Hymns || British Album of the Year ||
|-
| rowspan="3" | Themselves || British Producer of the Year ||
|-
| British Group ||
|-
| 2009 || British Live Act ||
|}
Pollstar Concert Industry Awards
|-
| 1998
| Themselves
| Club Tour of the Year
|
Rockbjornen
|-
| rowspan="2" | 1997 || Themselves || Best Foreign Group ||
|-
| Urban Hymns || Best Foreign Album ||
|}
UK Festival Awards
|-
| rowspan="2"|2008
| Themselves
| Festival Headline Act
|
|-
| "Love is Noise"
| Anthem of the Summer
|
Žebřík Music Awards
!Ref.
|-
| rowspan=3|1997
| Themselves
| Best International Surprise
|
| rowspan=3|
|-
| rowspan="2" | "Bitter Sweet Symphony"
| Best International Song
|
|-
| Best International Video
|
References
External links
(defunct since 29 June 2013)
1990 establishments in England
1995 disestablishments in England
1997 establishments in England
1999 disestablishments in England
2007 establishments in England
2009 disestablishments in England
Brit Award winners
Britpop groups
English alternative rock groups
English psychedelic rock music groups
Neo-psychedelia groups
Music in the Metropolitan Borough of Wigan
Musical groups from Greater Manchester
Musical groups established in 1990
Musical groups reestablished in 1997
Musical groups disestablished in 1999
Musical groups reestablished in 2007
Musical groups disestablished in 2009
Musical quartets
Parlophone artists
Virgin Records artists
| false |
[
"Success was a small settlement in Fairview Township, Russell County, Kansas, United States.\n\nHistory\nSuccess was issued a post office in 1878. The post office was discontinued in 1909.\n\nReferences\n\nFormer populated places in Russell County, Kansas\nFormer populated places in Kansas",
"HMS Success was an 28-gun sixth-rate wooden sailing ship notable for exploring Western Australia and the Swan River in 1827 as well as being one of the first ships to arrive at the fledgling Swan River Colony two years later, at which time she ran aground off Carnac Island.\n\nHistory \nHer keel was laid at Pembroke Dock in August 1823 and she was launched on 31 August 1825. She was and , and was a sixth-rate ship with 28 guns, including twenty 32-pounders.\n\nShe was sent by the Royal Navy on a mission to New South Wales and Melville Island. She made an expedition to the Swan River in 1827, arriving there in early March. Captain James Stirling was in command. There is a record of the expedition, An account of the expedition of H.M.S. 'Success', Captain James Stirling, RN., from Sydney, to the Swan River, in 1827 by Augustus Gilbert. Another account The visit of Charles Fraser (the colonial botanist of New South Wales) : to the Swan River in 1827, with his opinion on the suitableness of the district for a settlement was published in 1832.\n\nOn 3 December 1829 Success ran aground on Shag Rock, Carnac Island. In April Success was taken to Careening Bay on Garden Island for heaving down to and repaired.\n\nIn February 1833 Success was fitted out as a receiving ship and from 1833 to 1849 was engaged in harbour service in Portsmouth. She was broken up in 1849.\n\nSuccess Hill, Success Bank, the suburb of Success and a number of other features in Western Australia are named after the ship.\n\nReferences \n\n \n\nAtholl-class corvettes\n1825 ships\nShips built in Pembroke Dock\nMaritime incidents in December 1829"
] |
[
"The Verve",
"A Northern Soul and first break-up (1995-1996)",
"when was the fiirst break up",
"Ashcroft broke up the band three months later, just before the release of the third single \"History\",",
"was history a success",
"reached No. 24 in September."
] |
C_9dcad5746e944bc2af815a8d7b1dabe6_0
|
what other album was released
| 3 |
What other album was released by "The Verve" other than A Northern Soul
|
The Verve
|
The band's physical and mental turmoil continued into the chaotic recording sessions of the band's second album, 1995's A Northern Soul, produced by Owen Morris. The band departed from the experimental psychedelic sounds of A Storm in Heaven and focused more on conventional alternative rock, with Ashcroft's vocals taking a more prominent role in the songs, although reminiscent of some of the early work. Around this period, Oasis guitarist and friend of Ashcroft, Noel Gallagher, dedicated the song "Cast No Shadow" on the album (What's the Story) Morning Glory? to Ashcroft, and Ashcroft returned the gesture by dedicating the song "A Northern Soul" to Noel. The band released the album's first single "This Is Music" in May, and it reached No. 35, their first single to reach the Top 40. It was followed by "On Your Own" in June which performed even better, reaching No. 28. This single was particularly new for the Verve as it was a soulful ballad. The album reached the UK Top 20 upon its release in July, but Ashcroft broke up the band three months later, just before the release of the third single "History", which reached No. 24 in September. Ashcroft later stated: "I knew that I had to do it earlier on, but I just wouldn't face it. Once you're not happy in anything, there's no point living in it, is there? But my addiction to playing and writing and being in this band was so great that I wouldn't do anything about it. It felt awful because it could have been the greatest time of our lives, with "History" doing well, but I still think I can look myself in the mirror in 30 years time and say, 'Yeah man, you did the right thing.' The others had been through the same thing. It was a mixture of sadness and regret, and relief that we would have some time away." Ashcroft reunited with Jones and Salisbury just a few weeks after the break-up, but McCabe did not rejoin them. The new band hired former Suede guitarist Bernard Butler, but he spent only a couple of days with the band. The band then chose Simon Tong, a school friend credited with originally teaching Ashcroft and Jones to play guitar. The band made no live appearances for all of 1996, apart from a solo performance from Ashcroft supporting Oasis in New York. The rest of the year was spent playing and recording songs for a new album. CANNOTANSWER
|
second album, 1995's A Northern Soul,
|
The Verve was an English rock band formed in Wigan in 1990 by lead vocalist Richard Ashcroft, guitarist Nick McCabe, bass guitarist Simon Jones and drummer Peter Salisbury. Guitarist and keyboard player Simon Tong later became a member in their first reunion only.
Beginning with a psychedelic sound with their debut LP A Storm in Heaven, by the mid-1990s the band had released several EPs and three albums. They also endured name and line-up changes, break-ups, health problems, drug abuse and various lawsuits. The band's commercial breakthrough was the 1997 album Urban Hymns, one of the best-selling albums in UK Chart history. The album features the hit singles "Bitter Sweet Symphony", "The Drugs Don't Work", "Sonnet" and "Lucky Man". In 1998, the band won two Brit Awards, winning Best British Group, appeared on the cover of Rolling Stone magazine in March, and in February 1999, "Bitter Sweet Symphony" was nominated for the Grammy Award for Best Rock Song.
Soon after their commercial peak, the Verve disbanded in April 1999, citing internal conflicts. According to Billboard magazine, "the group's rise was the culmination of a long, arduous journey that began at the dawn of the decade and went on to encompass a major breakup, multiple lawsuits, and an extensive diet of narcotics". During an eight-year split, Ashcroft dismissed talk of a reunion, saying: "You're more likely to get all four Beatles on stage." The band's original line-up reunited in June 2007, embarking on a tour later that year and releasing the album Forth in August 2008, which spawned the hit single "Love Is Noise". Amid revived tensions, the band broke up for the third time in 2008 following their final performance together at the V Festival, but the band didn't disclose this information until 2009.
History
Formation and Verve (1990–1992)
The founding members of the Verve met at Winstanley Sixth Form College, in Wigan, Greater Manchester, when Liam Begley introduced Richard Ashcroft to the other band members. The band was initially known as just "Verve", and their first gig was at a friend's 18th birthday party at the Honeysuckle Inn, in Wigan, on 15 August 1990. Most of the band's early material was created through extensive jam sessions. Fronted by Ashcroft, the band caused a buzz in early 1991 for their ability to captivate audiences with their musical textures and avant-garde sensibilities.
The group were signed by Hut Records in 1991 and their first studio releases in 1992, "All in the Mind", "She's a Superstar", and "Gravity Grave" (along with the December 1992 EP Verve) saw the band become a critical success, making an impression with freeform guitar work by McCabe and unpredictable vocals by Ashcroft. Those first three singles reached the first spot in the UK Indie charts, and "She's a Superstar" entered the UK Top 75 Singles Chart. The band saw some support from these early days in the United States in some music scenes in big cities like New York connected with psychedelic music.
A Storm in Heaven (1993–1994)
1993's A Storm in Heaven was the band's full-length debut, produced by record producer John Leckie. "Blue" was released as the lead single and again managed to enter in the UK Top 75 at No. 69 and reached No. 2 in the Indie charts. The album was a critical success, but was only a moderate commercial success, reaching No. 27 in the UK album chart that summer. The second single from the album, "Slide Away", topped the UK indie rock charts. During this period the band played a number of gigs with Oasis who, at the time, were relatively unknown. Furthermore, the band supported The Smashing Pumpkins on the European Part of their Siamese Dream Tour in autumn of 1993.
In 1994, the band released the album No Come Down, a compilation of b-sides plus a live version of "Gravity Grave" performed at Glastonbury Festival in 1993. It was the band's first release under the name "The Verve", following legal difficulties with jazz label Verve Records. The band then played on the travelling US alternative rock festival, Lollapalooza, in the summer of 1994. A new mix of "Blue" was released in the US to promote the band. The tour became notorious for the events of 11 July – Ashcroft was hospitalised for dehydration after a massive session of drinking and Salisbury was arrested for destroying a hotel room in Kansas in a drug-fuelled delirium. However, the band were performing again the very next day. Ashcroft later recalled: "At the start, it was an adventure, but America nearly killed us."
A Northern Soul and first break-up (1995–1996)
The Verve's physical and mental turmoil continued into the chaotic recording sessions of their second album, 1995's A Northern Soul, produced by Owen Morris. The band departed from the experimental psychedelic sounds of A Storm in Heaven and focused more on conventional alternative rock, with Ashcroft's vocals taking a more prominent role in the songs, although reminiscent of some of the early work. Around this period, Oasis guitarist and friend of Ashcroft, Noel Gallagher, dedicated the song "Cast No Shadow" on the album (What's the Story) Morning Glory? to Ashcroft, who returned the gesture by dedicating the song "A Northern Soul" to Gallagher.
The band released the album's first single "This Is Music" in May, and it reached No. 35, their first single to reach the Top 40. It was followed by "On Your Own" in June which performed even better, reaching No. 28. This single was particularly new for the Verve as it was a soulful ballad. The album reached the UK Top 20 upon its release in July, but Ashcroft broke up the band three months later, just before the release of the third single "History", which reached No. 24 in September. Ashcroft later stated: "I knew that I had to do it earlier on, but I just wouldn't face it. Once you're not happy in anything, there's no point living in it, is there? But my addiction to playing and writing and being in this band was so great that I wouldn't do anything about it. It felt awful because it could have been the greatest time of our lives, with "History" doing well, but I still think I can look myself in the mirror in 30 years time and say, 'Yeah man, you did the right thing.' The others had been through the same thing. It was a mixture of sadness and regret, and relief that we would have some time away."
Ashcroft reunited with Jones and Salisbury just a few weeks after the break-up, but McCabe did not rejoin them. The new band hired former Suede guitarist Bernard Butler, but he spent only a couple of days with the band. The band then chose Simon Tong, a school friend credited with originally teaching Ashcroft and Jones to play guitar. The band made no live appearances in 1996, apart from a solo performance from Ashcroft supporting Oasis in New York; the year was spent playing and recording songs for a new album.
Commercial success and second break-up (1997–1999)
In early 1997, Ashcroft asked McCabe to return, stating: "I got to the point where nothing other than The Verve would do for me". McCabe obliged and with the new line-up in place (Tong remained on guitar alongside McCabe), the group went through a "spiritual" recording process to finish their third album Urban Hymns, which was completed by early summer.
For the first time in their career, The Verve experienced widespread commercial success with their new material. The album's first single "Bitter Sweet Symphony" entered the UK charts at number 2 in June 1997, but its success was marred by legal problems regarding ownership of the song. Even though the group had secured permission from Decca to use a sample of 4 bars of an orchestral rendition of "The Last Time" by The Rolling Stones, giving 50% of the royalties to the original and named authors Mick Jagger & Keith Richards, they released the single without getting explicit permission from the administrator of the song's rights. When they retrospectively applied, Allen Klein, who administers the rights to the music via his company ABKCO Records, demanded 100% royalties and full publishing credits to Mick Jagger and Keith Richards. The music video for "Bitter Sweet Symphony", which received heavy rotation on MTV, focuses on Ashcroft lip-synching the song while walking down a busy London pavement, oblivious to what is going on around and refusing to change his stride or direction throughout.
In August 1997, the band began playing their first gigs in two years, beginning the Urban Hymns Tour. The next single, "The Drugs Don't Work" gave the band their first UK number 1 single in September. The album immediately reached number 1 on the charts later that month, knocking off Oasis' highly anticipated album Be Here Now in the process. The band saw an overwhelming increase in popularity overseas, and "Bitter Sweet Symphony" reached number 12 on the US charts, the band's highest ever American position. The album reached the US Top 30, going platinum in the process. Critic Mike Gee of iZINE said of this time, "The Verve, as he (Richard Ashcroft) promised, had become the greatest band in the world. ...The Verve were no longer the question mark or the cliché. They were the statement and the definition." By November the band released "Lucky Man" in the UK and reached number 7. At the 1998 Brit Awards, The Verve won the awards for Best British Group and Best British Album (Urban Hymns). The band's singles were given extensive airplay on US rock stations and Ashcroft, and bandmates, appeared on the cover of Rolling Stone magazine in March 1998. Then, as the band was on a successful tour to promote the album, Jones collapsed on stage. This was the first of many problems to come for the band in the next months. In 1998, McCabe, Tong, Jones and drummer Leon Parr formerly with Mr. So & So and Mosque were commissioned for a soundtrack for a Jonny Lee Miller film which was recorded in Kilburn. These never made it to the final film due to delays on their part. At the 1998 MTV Video Music Awards, "Bitter Sweet Symphony" was nominated for Video of the Year, Best Group Video, and Best Alternative Video.
On 24 May of that year, the band played a homecoming concert in front of 33,000 fans in the grounds of Haigh Hall & Country Park, Aspull, supported by Beck and John Martyn. The band then played gigs in mainland Europe, but, on 7 June, a post-show bust-up at Düsseldorf-Philipshalle left McCabe with a broken hand and Ashcroft with a sore jaw. After this, McCabe decided he could not tolerate the pressures of life on the road any longer and pulled out of the tour, leaving the band's future in jeopardy, with rumours of a split circulating in the press. Despite this, the band continued with session guitarist B. J. Cole replacing McCabe, whose guitar work was also sampled and triggered on stage. The band played another American tour, which was riddled with problems as venues were downsized and support act Massive Attack dropped out. The band then returned to England for two headline performances at the V Festival, which received poor reviews, with NME stating "where songs used to spiral upwards and outwards, they now simply fizzle tamely." In February 1999, "Bitter Sweet Symphony" was nominated for the Grammy Award for Best Rock Song. The Verve played their last gig at Slane Castle in Ireland on 29 August. A long period of inactivity followed. Finally, in April 1999, it was announced that The Verve had again split up.
Post-breakup activities (2000–2006)
By the time the band had split, Ashcroft had already been working on solo material accompanied by, among others, Salisbury and Cole. In 2000, he released his first solo album, Alone with Everybody, which reached number 1 in the UK album charts. Ashcroft's next album, Human Conditions, was released to poorer sales in 2002, and Ashcroft was subsequently absent from the music business for several years. During this time Salisbury was the drummer for Black Rebel Motorcycle Club's UK tour in 2004, after their original drummer briefly left due to alcohol and drug abuse. Salisbury also owns a drum shop in Stockport. Ashcroft appeared with Coldplay at Live 8 in 2005, followed by the release of Keys to the World in 2006 and a particularly successful tour that included gigs as the support act for Coldplay's Twisted Logic Tour.
Jones and Tong formed The Shining, who released one album, before disbanding in 2003. Jones went on to work with Irish musician Cathy Davey. Tong became a live replacement for ex-guitarist Graham Coxon in Blur, an additional guitarist for Gorillaz (both Jones and Tong played guitar for Demon Days Live), and a member of The Good, the Bad & the Queen. McCabe worked in different projects like the London-based Neotropic project and played with some established artists, including John Martyn, The Music, The Beta Band and Faultline.
The Verve's members sometimes expressed bitter sentiments about the band's later years. In his only interview after the split, McCabe said of Urban Hymns: "By the time I got my parts in there it's not really a music fan's record. It just sits nicely next to the Oasis record", though conceding, "I'm not going to say it was bad. I mean, we were good as far as pop goes". During his solo career, Ashcroft expressed regret at having asked McCabe to return for the album instead of releasing it under his own name, saying: "Imagine being the guy that's written an album on his own, bottles it near the end, feels like there's unfinished business, rings Nick McCabe up who adds some guitars, puts it out as the Verve and the same problems arise again. Imagine being that mug. I've now got to rewrite history. Everyone thinks those songs are somehow associated with another bunch of people that I'm not with now". Jones claimed that "The Verve were going off in a direction of strings and ballads, and that's not where I was coming from at all. Loud guitars is it for me", though noting that this was not why the band split up.
Reunion and Forth (2007–2008)
Ashcroft had been adamant that The Verve would not re-form, once remarking: "You're more likely to get all four Beatles on stage". However, after Ashcroft learned that Salisbury was in contact with McCabe over a possible side project, Ashcroft contacted McCabe and Jones, making peace with them, and the band re-formed. Tong was not asked to rejoin, so as to keep the internal issues that split the band up a decade ago to an absolute minimum. Jones explained this decision by stating: "It would have been too hard, it's hard enough for the four of us. If you bring more people to it, it's harder to communicate and communication has always been our difficulty". Paradoxically, Nick McCabe would state years later on his Twitter account, that he intended to include Davide Rossi (violist) as a new member of the group. On 26 June 2007, the band's reunion was announced by Jo Whiley on BBC Radio 1. The band, reuniting in their original line-up, announced they would tour in November 2007, and release an album in 2008. The band stated: "We are getting back together for the joy of music", though they turned down a multi-album deal offer "because the 'treadmill' of releasing albums and touring marked the beginning of the end for the band a decade ago".
Tickets for their six-gig tour in early November 2007 sold out in less than 20 minutes. The tour began in Glasgow on 2 November, and included 6 performances at the Carling Academy Glasgow, The Empress Ballroom and the London Roundhouse. Since the 6-gig tour went extremely well in sales, the band booked a second, bigger tour for December. They played at O2 arena, the SECC in Glasgow, the Odyssey in Belfast, the Nottingham Arena and Manchester Central. Each show from the first and second part of the tour were sold out immediately. The band continued touring in 2008. They played at most of the biggest summer festivals and a few headline shows all over North America, Europe, Japan and the UK between April and August. Including shows at the Coachella Valley Music and Arts Festival, also at the Madison Square Garden Theater, and the Pinkpop festival, Glastonbury Festival, T in the Park, the V Festival, Oxegen Festival, Rock Werchter, Rock am Ring and Rock im Park and The Eden Project Sessions.
New single "Love Is Noise" was premiered by Zane Lowe on BBC Radio 1 on 23 June. They performed at the coveted Sunday night slot on the Pyramid Stage at Glastonbury on 29 June, closing the show with the new song. The Verve released a free download of a non-album track, "Mover", on 30 June. The song had been performed by the band in 1994, but had never seen a proper recording until the reunion. The track was available for download from their official website for one week only.
The band announced the new album's title: Forth, which was released in the UK on 25 August and the following day in North America. The album reached No. 1 on the UK Albums Chart on 31 August. The lead single "Love Is Noise" was released in the UK on 3 August digitally and one week later (11 August) on its physical form, peaking at No. 4 in the UK. The song was a moderate success in Europe, charting at No. 16 in the European chart (with 6 weeks in the Top 20). "Rather Be", the second single from the album, was released in November but did not become as successful as "Love Is Noise" was, peaking at number 56 on the UK Singles Chart.
Third break-up (2009–present)
In August 2009, The Guardian speculated that the Verve had broken up for a third time, with Jones and McCabe no longer on speaking terms with Ashcroft as they felt he was using the reunion as a vehicle to get his solo career back on track. Being asked about the supposed split, Ashcroft told The Daily Telegraph, "I can confirm we did what we set out to do [...] Right now there are no plans to be doing anything in the near future."
McCabe and Jones have since started their own project, The Black Ships, who later changed their name to Black Submarine, along with electric violinist and arranger Davide Rossi (who also served as a touring musician of the Verve) and drummer Mig Schillace. In September 2017, Nick McCabe noted that he had not spoken to Ashcroft for over a year and that a possible reunion would be unlikely in the foreseeable future. It also saw the release of the 20th Anniversary version of Urban Hymns.
In May 2019, Ashcroft received the Ivor Novello Award for Outstanding Contribution to British Music from the British Academy of Songwriters, Composers, and Authors. At the ceremony Ashcroft revealed that following negotiations with Klein's son, Jody, and the Rolling Stones' manager Joyce Smith the dispute had been settled, stating:
Band members
Official members
Richard Ashcroft – lead and backing vocals, rhythm guitar, keyboards, percussion, kazoo (1990–1995, 1996–1999, 2007–2009)
Nick McCabe – lead guitar, keyboards, accordion (1990–1995, 1997–1998, 2007–2009)
Simon Jones – bass, occasional backing vocals (1990–1995, 1996–1999, 2007–2009)
Peter Salisbury – drums, percussion (1990–1995, 1996–1999, 2007–2009)
Simon Tong – rhythm and lead guitar, keyboards (1996–1999)
Live or session members
Bernard Butler – lead guitar (1996)
B. J. Cole – pedal steel guitar (1998)
Davide Rossi – electric viola (2008)
Timeline
Discography
A Storm in Heaven (1993)
A Northern Soul (1995)
Urban Hymns (1997)
Forth (2008)
Awards and nominations
BMI Pop Awards
|-
| 1999
| "Bitter Sweet Symphony"
| Award-Winning Song
|
D&AD Awards
|-
| 1998
| "Bitter Sweet Symphony"
| Pop Promo Video with a budget over £40.000
| style="background:#BF8040"| Wood Pencil
Denmark GAFFA Awards
!Ref.
|-
| rowspan=4|1998
| Themselves
| Best Foreign Band
|
|rowspan=4|
|-
| Urban Hymns
| Best Foreign Album
|
|-
| "Bitter Sweet Symphony"
| rowspan=2|Best Foreign Hit
|
|-
| "The Drugs Don't Work"
|
ECHO Awards
|-
| 1998
| Themselves
| Best International Newcomer
|
Grammy Awards
|-
| rowspan="2" | 1999 || rowspan="2" | "Bitter Sweet Symphony" || Best Rock Performance by a Duo or Group with Vocal ||
|-
| Best Rock Song ||
|}
Hungarian Music Awards
|-
| 2009
| Forth
| Alternative Music Album of the Year
|
Ivor Novello Awards
|-
| rowspan="2" | 1998 || Richard Ashcroft || Songwriter of the Year ||
|-
| "The Drugs Don't Work" || Best Contemporary Song ||
|}
MTV Europe Music Awards
|-
| 1997 || Themselves || Best Alternative ||
|}
Mercury Prize
|-
| 1998 || Urban Hymns || Album of the Year ||
|}
NME Awards
|-
| 1996
|A Northern Soul
| rowspan=2|Best Album
|
|-
| rowspan="6" | 1998
| Urban Hymns
|
|-
| Themselves || Best Band ||
|-
| rowspan="2" | "Bitter Sweet Symphony" || Best Music Video ||
|-
| rowspan=3|Best Single ||
|-
| "The Drugs Don't Work"
|
|-
| "Lucky Man"
|
|-
| 1999
| Themselves
| Best Band
|
|}
Q Awards
|-
| 1997 || Themselves || Best Live Act ||
|-
| 2007 || Urban Hymns || Classic Album ||
|-
| 2008 || Themselves || Best Live Act ||
|}
Brit Awards
|-
| rowspan="5" | 1998 || rowspan="2" | "Bitter Sweet Symphony" || British Single of the Year ||
|-
| British Video of the Year ||
|-
| Urban Hymns || British Album of the Year ||
|-
| rowspan="3" | Themselves || British Producer of the Year ||
|-
| British Group ||
|-
| 2009 || British Live Act ||
|}
Pollstar Concert Industry Awards
|-
| 1998
| Themselves
| Club Tour of the Year
|
Rockbjornen
|-
| rowspan="2" | 1997 || Themselves || Best Foreign Group ||
|-
| Urban Hymns || Best Foreign Album ||
|}
UK Festival Awards
|-
| rowspan="2"|2008
| Themselves
| Festival Headline Act
|
|-
| "Love is Noise"
| Anthem of the Summer
|
Žebřík Music Awards
!Ref.
|-
| rowspan=3|1997
| Themselves
| Best International Surprise
|
| rowspan=3|
|-
| rowspan="2" | "Bitter Sweet Symphony"
| Best International Song
|
|-
| Best International Video
|
References
External links
(defunct since 29 June 2013)
1990 establishments in England
1995 disestablishments in England
1997 establishments in England
1999 disestablishments in England
2007 establishments in England
2009 disestablishments in England
Brit Award winners
Britpop groups
English alternative rock groups
English psychedelic rock music groups
Neo-psychedelia groups
Music in the Metropolitan Borough of Wigan
Musical groups from Greater Manchester
Musical groups established in 1990
Musical groups reestablished in 1997
Musical groups disestablished in 1999
Musical groups reestablished in 2007
Musical groups disestablished in 2009
Musical quartets
Parlophone artists
Virgin Records artists
| true |
[
"Hurt & the Merciless is the fourth studio album by English rock band The Heavy, released on 1 April 2016 through Counter Records and the Bad Son Recording Company. The album's first track, \"Since You Been Gone\", was released as the album's lead single on 4 February 2016 alongside an accompanying music video. The tracks \"Turn Up\" and \"What Happened to the Love?\" were also released as singles.\n\nRelease\nHurt & the Merciless was released on 1 April 2016 through Counter Records and the Bad Son Recording Company. It was released as a CD, a digital download, and a vinyl. A deluxe box set, limited to 1000 copies, were also released, containing both CD and vinyl copies of the album, a code containing an MP3 download of the album, badges and stickers, a poster, and two 7\" vinyls, with one featuring the first two tracks on the album, \"Since You Been Gone\" and \"What Happened to the Love?\", and the other containing two bonus tracks titled \"Panic Attack!\" and \"WTF?\".\n\n\"Since You Been Gone\" was released as the album's lead single on 4 February 2016, the same day the album was announced. A music video for the song was also released, directed by Focus Creeps and starring Thomas Turgoose and Abigail Hardingham. \"Turn Up\" was released as the album's second single on 23 February, with a lyric video being released for it, and \"What Happened to the Love?\" was released as the third single on 31 March, alongside a music video.\n\nTrack listing\n\nPersonnel\nPersonnel adapted from album liner notes.\n\nThe Heavy\n Kelvin Swaby – vocals\n Dan Taylor – guitar\n Spencer Page – bass\n Chris Ellul – drums\n\nOther personnel\n Bazza – mastering\n Bosco Mann – arrangement, brass, strings\n Toby McLaren – arrangement, brass, strings\n Andrew Scheps – mixing\n\nCharts\n\nRelease history\n\nReferences\n\n2016 albums\nThe Heavy (band) albums",
"Feel What U Feel is a children's album by American musician Lisa Loeb. The album was released on October 7, 2016, and the album's first single was \"Feel What U Feel.\" The album won Best Children's Album at the 60th Annual Grammy Awards.\n\nRelease \nThe album was announced on September 8, 2016 with the release of the lead single \"Feel What U Feel,\" featuring Craig Robinson. The album was then released by Furious Rose Productions on October 7, 2016 as an Amazon Music exclusive.\n\nPromotion \nLisa Loeb Embarked a small tour to promote the Children's album in the Fall of 2016 & Winter of 2017. Despite going on a children's tour, Lisa performed many of her \"Adult\" and \"Older\" songs. Lisa also constantly played her songs on \"Kids Place Live Radio\" for nearly 1 year after release.\n\nSingles \n\"Feel What U Feel\" was released as the album's lead single of September 8, 2016. The second single, \"Moon Star Pie (It's Gunna Be Alright)\" was released on October 7, 2016. The third single, \"Wanna Do Day\" ft. Ed Helms was released on January 12, 2017. The fourth and final single of the album, \"The Sky Is Always Blue\" was released on March 13, 2017.\n\nTrack listing\n\nReferences \n\n2016 albums\nChildren's music albums\nLisa Loeb albums"
] |
[
"The Verve",
"A Northern Soul and first break-up (1995-1996)",
"when was the fiirst break up",
"Ashcroft broke up the band three months later, just before the release of the third single \"History\",",
"was history a success",
"reached No. 24 in September.",
"what other album was released",
"second album, 1995's A Northern Soul,"
] |
C_9dcad5746e944bc2af815a8d7b1dabe6_0
|
was it a success
| 4 |
Was "A Northern Soul" by The Verve a success?
|
The Verve
|
The band's physical and mental turmoil continued into the chaotic recording sessions of the band's second album, 1995's A Northern Soul, produced by Owen Morris. The band departed from the experimental psychedelic sounds of A Storm in Heaven and focused more on conventional alternative rock, with Ashcroft's vocals taking a more prominent role in the songs, although reminiscent of some of the early work. Around this period, Oasis guitarist and friend of Ashcroft, Noel Gallagher, dedicated the song "Cast No Shadow" on the album (What's the Story) Morning Glory? to Ashcroft, and Ashcroft returned the gesture by dedicating the song "A Northern Soul" to Noel. The band released the album's first single "This Is Music" in May, and it reached No. 35, their first single to reach the Top 40. It was followed by "On Your Own" in June which performed even better, reaching No. 28. This single was particularly new for the Verve as it was a soulful ballad. The album reached the UK Top 20 upon its release in July, but Ashcroft broke up the band three months later, just before the release of the third single "History", which reached No. 24 in September. Ashcroft later stated: "I knew that I had to do it earlier on, but I just wouldn't face it. Once you're not happy in anything, there's no point living in it, is there? But my addiction to playing and writing and being in this band was so great that I wouldn't do anything about it. It felt awful because it could have been the greatest time of our lives, with "History" doing well, but I still think I can look myself in the mirror in 30 years time and say, 'Yeah man, you did the right thing.' The others had been through the same thing. It was a mixture of sadness and regret, and relief that we would have some time away." Ashcroft reunited with Jones and Salisbury just a few weeks after the break-up, but McCabe did not rejoin them. The new band hired former Suede guitarist Bernard Butler, but he spent only a couple of days with the band. The band then chose Simon Tong, a school friend credited with originally teaching Ashcroft and Jones to play guitar. The band made no live appearances for all of 1996, apart from a solo performance from Ashcroft supporting Oasis in New York. The rest of the year was spent playing and recording songs for a new album. CANNOTANSWER
|
ballad. The album reached the UK Top 20 upon its release in July,
|
The Verve was an English rock band formed in Wigan in 1990 by lead vocalist Richard Ashcroft, guitarist Nick McCabe, bass guitarist Simon Jones and drummer Peter Salisbury. Guitarist and keyboard player Simon Tong later became a member in their first reunion only.
Beginning with a psychedelic sound with their debut LP A Storm in Heaven, by the mid-1990s the band had released several EPs and three albums. They also endured name and line-up changes, break-ups, health problems, drug abuse and various lawsuits. The band's commercial breakthrough was the 1997 album Urban Hymns, one of the best-selling albums in UK Chart history. The album features the hit singles "Bitter Sweet Symphony", "The Drugs Don't Work", "Sonnet" and "Lucky Man". In 1998, the band won two Brit Awards, winning Best British Group, appeared on the cover of Rolling Stone magazine in March, and in February 1999, "Bitter Sweet Symphony" was nominated for the Grammy Award for Best Rock Song.
Soon after their commercial peak, the Verve disbanded in April 1999, citing internal conflicts. According to Billboard magazine, "the group's rise was the culmination of a long, arduous journey that began at the dawn of the decade and went on to encompass a major breakup, multiple lawsuits, and an extensive diet of narcotics". During an eight-year split, Ashcroft dismissed talk of a reunion, saying: "You're more likely to get all four Beatles on stage." The band's original line-up reunited in June 2007, embarking on a tour later that year and releasing the album Forth in August 2008, which spawned the hit single "Love Is Noise". Amid revived tensions, the band broke up for the third time in 2008 following their final performance together at the V Festival, but the band didn't disclose this information until 2009.
History
Formation and Verve (1990–1992)
The founding members of the Verve met at Winstanley Sixth Form College, in Wigan, Greater Manchester, when Liam Begley introduced Richard Ashcroft to the other band members. The band was initially known as just "Verve", and their first gig was at a friend's 18th birthday party at the Honeysuckle Inn, in Wigan, on 15 August 1990. Most of the band's early material was created through extensive jam sessions. Fronted by Ashcroft, the band caused a buzz in early 1991 for their ability to captivate audiences with their musical textures and avant-garde sensibilities.
The group were signed by Hut Records in 1991 and their first studio releases in 1992, "All in the Mind", "She's a Superstar", and "Gravity Grave" (along with the December 1992 EP Verve) saw the band become a critical success, making an impression with freeform guitar work by McCabe and unpredictable vocals by Ashcroft. Those first three singles reached the first spot in the UK Indie charts, and "She's a Superstar" entered the UK Top 75 Singles Chart. The band saw some support from these early days in the United States in some music scenes in big cities like New York connected with psychedelic music.
A Storm in Heaven (1993–1994)
1993's A Storm in Heaven was the band's full-length debut, produced by record producer John Leckie. "Blue" was released as the lead single and again managed to enter in the UK Top 75 at No. 69 and reached No. 2 in the Indie charts. The album was a critical success, but was only a moderate commercial success, reaching No. 27 in the UK album chart that summer. The second single from the album, "Slide Away", topped the UK indie rock charts. During this period the band played a number of gigs with Oasis who, at the time, were relatively unknown. Furthermore, the band supported The Smashing Pumpkins on the European Part of their Siamese Dream Tour in autumn of 1993.
In 1994, the band released the album No Come Down, a compilation of b-sides plus a live version of "Gravity Grave" performed at Glastonbury Festival in 1993. It was the band's first release under the name "The Verve", following legal difficulties with jazz label Verve Records. The band then played on the travelling US alternative rock festival, Lollapalooza, in the summer of 1994. A new mix of "Blue" was released in the US to promote the band. The tour became notorious for the events of 11 July – Ashcroft was hospitalised for dehydration after a massive session of drinking and Salisbury was arrested for destroying a hotel room in Kansas in a drug-fuelled delirium. However, the band were performing again the very next day. Ashcroft later recalled: "At the start, it was an adventure, but America nearly killed us."
A Northern Soul and first break-up (1995–1996)
The Verve's physical and mental turmoil continued into the chaotic recording sessions of their second album, 1995's A Northern Soul, produced by Owen Morris. The band departed from the experimental psychedelic sounds of A Storm in Heaven and focused more on conventional alternative rock, with Ashcroft's vocals taking a more prominent role in the songs, although reminiscent of some of the early work. Around this period, Oasis guitarist and friend of Ashcroft, Noel Gallagher, dedicated the song "Cast No Shadow" on the album (What's the Story) Morning Glory? to Ashcroft, who returned the gesture by dedicating the song "A Northern Soul" to Gallagher.
The band released the album's first single "This Is Music" in May, and it reached No. 35, their first single to reach the Top 40. It was followed by "On Your Own" in June which performed even better, reaching No. 28. This single was particularly new for the Verve as it was a soulful ballad. The album reached the UK Top 20 upon its release in July, but Ashcroft broke up the band three months later, just before the release of the third single "History", which reached No. 24 in September. Ashcroft later stated: "I knew that I had to do it earlier on, but I just wouldn't face it. Once you're not happy in anything, there's no point living in it, is there? But my addiction to playing and writing and being in this band was so great that I wouldn't do anything about it. It felt awful because it could have been the greatest time of our lives, with "History" doing well, but I still think I can look myself in the mirror in 30 years time and say, 'Yeah man, you did the right thing.' The others had been through the same thing. It was a mixture of sadness and regret, and relief that we would have some time away."
Ashcroft reunited with Jones and Salisbury just a few weeks after the break-up, but McCabe did not rejoin them. The new band hired former Suede guitarist Bernard Butler, but he spent only a couple of days with the band. The band then chose Simon Tong, a school friend credited with originally teaching Ashcroft and Jones to play guitar. The band made no live appearances in 1996, apart from a solo performance from Ashcroft supporting Oasis in New York; the year was spent playing and recording songs for a new album.
Commercial success and second break-up (1997–1999)
In early 1997, Ashcroft asked McCabe to return, stating: "I got to the point where nothing other than The Verve would do for me". McCabe obliged and with the new line-up in place (Tong remained on guitar alongside McCabe), the group went through a "spiritual" recording process to finish their third album Urban Hymns, which was completed by early summer.
For the first time in their career, The Verve experienced widespread commercial success with their new material. The album's first single "Bitter Sweet Symphony" entered the UK charts at number 2 in June 1997, but its success was marred by legal problems regarding ownership of the song. Even though the group had secured permission from Decca to use a sample of 4 bars of an orchestral rendition of "The Last Time" by The Rolling Stones, giving 50% of the royalties to the original and named authors Mick Jagger & Keith Richards, they released the single without getting explicit permission from the administrator of the song's rights. When they retrospectively applied, Allen Klein, who administers the rights to the music via his company ABKCO Records, demanded 100% royalties and full publishing credits to Mick Jagger and Keith Richards. The music video for "Bitter Sweet Symphony", which received heavy rotation on MTV, focuses on Ashcroft lip-synching the song while walking down a busy London pavement, oblivious to what is going on around and refusing to change his stride or direction throughout.
In August 1997, the band began playing their first gigs in two years, beginning the Urban Hymns Tour. The next single, "The Drugs Don't Work" gave the band their first UK number 1 single in September. The album immediately reached number 1 on the charts later that month, knocking off Oasis' highly anticipated album Be Here Now in the process. The band saw an overwhelming increase in popularity overseas, and "Bitter Sweet Symphony" reached number 12 on the US charts, the band's highest ever American position. The album reached the US Top 30, going platinum in the process. Critic Mike Gee of iZINE said of this time, "The Verve, as he (Richard Ashcroft) promised, had become the greatest band in the world. ...The Verve were no longer the question mark or the cliché. They were the statement and the definition." By November the band released "Lucky Man" in the UK and reached number 7. At the 1998 Brit Awards, The Verve won the awards for Best British Group and Best British Album (Urban Hymns). The band's singles were given extensive airplay on US rock stations and Ashcroft, and bandmates, appeared on the cover of Rolling Stone magazine in March 1998. Then, as the band was on a successful tour to promote the album, Jones collapsed on stage. This was the first of many problems to come for the band in the next months. In 1998, McCabe, Tong, Jones and drummer Leon Parr formerly with Mr. So & So and Mosque were commissioned for a soundtrack for a Jonny Lee Miller film which was recorded in Kilburn. These never made it to the final film due to delays on their part. At the 1998 MTV Video Music Awards, "Bitter Sweet Symphony" was nominated for Video of the Year, Best Group Video, and Best Alternative Video.
On 24 May of that year, the band played a homecoming concert in front of 33,000 fans in the grounds of Haigh Hall & Country Park, Aspull, supported by Beck and John Martyn. The band then played gigs in mainland Europe, but, on 7 June, a post-show bust-up at Düsseldorf-Philipshalle left McCabe with a broken hand and Ashcroft with a sore jaw. After this, McCabe decided he could not tolerate the pressures of life on the road any longer and pulled out of the tour, leaving the band's future in jeopardy, with rumours of a split circulating in the press. Despite this, the band continued with session guitarist B. J. Cole replacing McCabe, whose guitar work was also sampled and triggered on stage. The band played another American tour, which was riddled with problems as venues were downsized and support act Massive Attack dropped out. The band then returned to England for two headline performances at the V Festival, which received poor reviews, with NME stating "where songs used to spiral upwards and outwards, they now simply fizzle tamely." In February 1999, "Bitter Sweet Symphony" was nominated for the Grammy Award for Best Rock Song. The Verve played their last gig at Slane Castle in Ireland on 29 August. A long period of inactivity followed. Finally, in April 1999, it was announced that The Verve had again split up.
Post-breakup activities (2000–2006)
By the time the band had split, Ashcroft had already been working on solo material accompanied by, among others, Salisbury and Cole. In 2000, he released his first solo album, Alone with Everybody, which reached number 1 in the UK album charts. Ashcroft's next album, Human Conditions, was released to poorer sales in 2002, and Ashcroft was subsequently absent from the music business for several years. During this time Salisbury was the drummer for Black Rebel Motorcycle Club's UK tour in 2004, after their original drummer briefly left due to alcohol and drug abuse. Salisbury also owns a drum shop in Stockport. Ashcroft appeared with Coldplay at Live 8 in 2005, followed by the release of Keys to the World in 2006 and a particularly successful tour that included gigs as the support act for Coldplay's Twisted Logic Tour.
Jones and Tong formed The Shining, who released one album, before disbanding in 2003. Jones went on to work with Irish musician Cathy Davey. Tong became a live replacement for ex-guitarist Graham Coxon in Blur, an additional guitarist for Gorillaz (both Jones and Tong played guitar for Demon Days Live), and a member of The Good, the Bad & the Queen. McCabe worked in different projects like the London-based Neotropic project and played with some established artists, including John Martyn, The Music, The Beta Band and Faultline.
The Verve's members sometimes expressed bitter sentiments about the band's later years. In his only interview after the split, McCabe said of Urban Hymns: "By the time I got my parts in there it's not really a music fan's record. It just sits nicely next to the Oasis record", though conceding, "I'm not going to say it was bad. I mean, we were good as far as pop goes". During his solo career, Ashcroft expressed regret at having asked McCabe to return for the album instead of releasing it under his own name, saying: "Imagine being the guy that's written an album on his own, bottles it near the end, feels like there's unfinished business, rings Nick McCabe up who adds some guitars, puts it out as the Verve and the same problems arise again. Imagine being that mug. I've now got to rewrite history. Everyone thinks those songs are somehow associated with another bunch of people that I'm not with now". Jones claimed that "The Verve were going off in a direction of strings and ballads, and that's not where I was coming from at all. Loud guitars is it for me", though noting that this was not why the band split up.
Reunion and Forth (2007–2008)
Ashcroft had been adamant that The Verve would not re-form, once remarking: "You're more likely to get all four Beatles on stage". However, after Ashcroft learned that Salisbury was in contact with McCabe over a possible side project, Ashcroft contacted McCabe and Jones, making peace with them, and the band re-formed. Tong was not asked to rejoin, so as to keep the internal issues that split the band up a decade ago to an absolute minimum. Jones explained this decision by stating: "It would have been too hard, it's hard enough for the four of us. If you bring more people to it, it's harder to communicate and communication has always been our difficulty". Paradoxically, Nick McCabe would state years later on his Twitter account, that he intended to include Davide Rossi (violist) as a new member of the group. On 26 June 2007, the band's reunion was announced by Jo Whiley on BBC Radio 1. The band, reuniting in their original line-up, announced they would tour in November 2007, and release an album in 2008. The band stated: "We are getting back together for the joy of music", though they turned down a multi-album deal offer "because the 'treadmill' of releasing albums and touring marked the beginning of the end for the band a decade ago".
Tickets for their six-gig tour in early November 2007 sold out in less than 20 minutes. The tour began in Glasgow on 2 November, and included 6 performances at the Carling Academy Glasgow, The Empress Ballroom and the London Roundhouse. Since the 6-gig tour went extremely well in sales, the band booked a second, bigger tour for December. They played at O2 arena, the SECC in Glasgow, the Odyssey in Belfast, the Nottingham Arena and Manchester Central. Each show from the first and second part of the tour were sold out immediately. The band continued touring in 2008. They played at most of the biggest summer festivals and a few headline shows all over North America, Europe, Japan and the UK between April and August. Including shows at the Coachella Valley Music and Arts Festival, also at the Madison Square Garden Theater, and the Pinkpop festival, Glastonbury Festival, T in the Park, the V Festival, Oxegen Festival, Rock Werchter, Rock am Ring and Rock im Park and The Eden Project Sessions.
New single "Love Is Noise" was premiered by Zane Lowe on BBC Radio 1 on 23 June. They performed at the coveted Sunday night slot on the Pyramid Stage at Glastonbury on 29 June, closing the show with the new song. The Verve released a free download of a non-album track, "Mover", on 30 June. The song had been performed by the band in 1994, but had never seen a proper recording until the reunion. The track was available for download from their official website for one week only.
The band announced the new album's title: Forth, which was released in the UK on 25 August and the following day in North America. The album reached No. 1 on the UK Albums Chart on 31 August. The lead single "Love Is Noise" was released in the UK on 3 August digitally and one week later (11 August) on its physical form, peaking at No. 4 in the UK. The song was a moderate success in Europe, charting at No. 16 in the European chart (with 6 weeks in the Top 20). "Rather Be", the second single from the album, was released in November but did not become as successful as "Love Is Noise" was, peaking at number 56 on the UK Singles Chart.
Third break-up (2009–present)
In August 2009, The Guardian speculated that the Verve had broken up for a third time, with Jones and McCabe no longer on speaking terms with Ashcroft as they felt he was using the reunion as a vehicle to get his solo career back on track. Being asked about the supposed split, Ashcroft told The Daily Telegraph, "I can confirm we did what we set out to do [...] Right now there are no plans to be doing anything in the near future."
McCabe and Jones have since started their own project, The Black Ships, who later changed their name to Black Submarine, along with electric violinist and arranger Davide Rossi (who also served as a touring musician of the Verve) and drummer Mig Schillace. In September 2017, Nick McCabe noted that he had not spoken to Ashcroft for over a year and that a possible reunion would be unlikely in the foreseeable future. It also saw the release of the 20th Anniversary version of Urban Hymns.
In May 2019, Ashcroft received the Ivor Novello Award for Outstanding Contribution to British Music from the British Academy of Songwriters, Composers, and Authors. At the ceremony Ashcroft revealed that following negotiations with Klein's son, Jody, and the Rolling Stones' manager Joyce Smith the dispute had been settled, stating:
Band members
Official members
Richard Ashcroft – lead and backing vocals, rhythm guitar, keyboards, percussion, kazoo (1990–1995, 1996–1999, 2007–2009)
Nick McCabe – lead guitar, keyboards, accordion (1990–1995, 1997–1998, 2007–2009)
Simon Jones – bass, occasional backing vocals (1990–1995, 1996–1999, 2007–2009)
Peter Salisbury – drums, percussion (1990–1995, 1996–1999, 2007–2009)
Simon Tong – rhythm and lead guitar, keyboards (1996–1999)
Live or session members
Bernard Butler – lead guitar (1996)
B. J. Cole – pedal steel guitar (1998)
Davide Rossi – electric viola (2008)
Timeline
Discography
A Storm in Heaven (1993)
A Northern Soul (1995)
Urban Hymns (1997)
Forth (2008)
Awards and nominations
BMI Pop Awards
|-
| 1999
| "Bitter Sweet Symphony"
| Award-Winning Song
|
D&AD Awards
|-
| 1998
| "Bitter Sweet Symphony"
| Pop Promo Video with a budget over £40.000
| style="background:#BF8040"| Wood Pencil
Denmark GAFFA Awards
!Ref.
|-
| rowspan=4|1998
| Themselves
| Best Foreign Band
|
|rowspan=4|
|-
| Urban Hymns
| Best Foreign Album
|
|-
| "Bitter Sweet Symphony"
| rowspan=2|Best Foreign Hit
|
|-
| "The Drugs Don't Work"
|
ECHO Awards
|-
| 1998
| Themselves
| Best International Newcomer
|
Grammy Awards
|-
| rowspan="2" | 1999 || rowspan="2" | "Bitter Sweet Symphony" || Best Rock Performance by a Duo or Group with Vocal ||
|-
| Best Rock Song ||
|}
Hungarian Music Awards
|-
| 2009
| Forth
| Alternative Music Album of the Year
|
Ivor Novello Awards
|-
| rowspan="2" | 1998 || Richard Ashcroft || Songwriter of the Year ||
|-
| "The Drugs Don't Work" || Best Contemporary Song ||
|}
MTV Europe Music Awards
|-
| 1997 || Themselves || Best Alternative ||
|}
Mercury Prize
|-
| 1998 || Urban Hymns || Album of the Year ||
|}
NME Awards
|-
| 1996
|A Northern Soul
| rowspan=2|Best Album
|
|-
| rowspan="6" | 1998
| Urban Hymns
|
|-
| Themselves || Best Band ||
|-
| rowspan="2" | "Bitter Sweet Symphony" || Best Music Video ||
|-
| rowspan=3|Best Single ||
|-
| "The Drugs Don't Work"
|
|-
| "Lucky Man"
|
|-
| 1999
| Themselves
| Best Band
|
|}
Q Awards
|-
| 1997 || Themselves || Best Live Act ||
|-
| 2007 || Urban Hymns || Classic Album ||
|-
| 2008 || Themselves || Best Live Act ||
|}
Brit Awards
|-
| rowspan="5" | 1998 || rowspan="2" | "Bitter Sweet Symphony" || British Single of the Year ||
|-
| British Video of the Year ||
|-
| Urban Hymns || British Album of the Year ||
|-
| rowspan="3" | Themselves || British Producer of the Year ||
|-
| British Group ||
|-
| 2009 || British Live Act ||
|}
Pollstar Concert Industry Awards
|-
| 1998
| Themselves
| Club Tour of the Year
|
Rockbjornen
|-
| rowspan="2" | 1997 || Themselves || Best Foreign Group ||
|-
| Urban Hymns || Best Foreign Album ||
|}
UK Festival Awards
|-
| rowspan="2"|2008
| Themselves
| Festival Headline Act
|
|-
| "Love is Noise"
| Anthem of the Summer
|
Žebřík Music Awards
!Ref.
|-
| rowspan=3|1997
| Themselves
| Best International Surprise
|
| rowspan=3|
|-
| rowspan="2" | "Bitter Sweet Symphony"
| Best International Song
|
|-
| Best International Video
|
References
External links
(defunct since 29 June 2013)
1990 establishments in England
1995 disestablishments in England
1997 establishments in England
1999 disestablishments in England
2007 establishments in England
2009 disestablishments in England
Brit Award winners
Britpop groups
English alternative rock groups
English psychedelic rock music groups
Neo-psychedelia groups
Music in the Metropolitan Borough of Wigan
Musical groups from Greater Manchester
Musical groups established in 1990
Musical groups reestablished in 1997
Musical groups disestablished in 1999
Musical groups reestablished in 2007
Musical groups disestablished in 2009
Musical quartets
Parlophone artists
Virgin Records artists
| true |
[
"Sixteen ships of the Royal Navy have been named HMS Success, whilst another was planned:\n\n was a 34-gun ship, previously the French ship Jules. She was captured in 1650, renamed HMS Old Success in 1660 and sold in 1662.\n HMS Success was a 24-gun ship launched in 1655 as . She was renamed HMS Success in 1660 and was wrecked in 1680.\n was a 6-gun fireship purchased in 1672 that foundered in 1673.\n was a store hulk purchased in 1692 and sunk as a breakwater in 1707.\n was a 10-gun sloop purchased in 1709 that the French captured in 1710 off Lisbon.\n was a 24-gun storeship launched in 1709, hulked in 1730, and sold in 1748. \n was a 20-gun sixth rate launched in 1712, converted to a fireship in 1739, and sold in 1743.\n was a 14-gun sloop launched in 1736; her fate is unknown.\n was a 24-gun sixth rate launched in 1740 and broken up in 1779.\n was a 14-gun ketch launched in 1754. Her fate is unknown.\n was a 32-gun fifth rate launched in 1781 that the French captured in 1801 but that the British recaptured the same year. She became a convict ship in 1814 and was broken up in 1820.\n was a 3-gun gunvessel, previously in use as a barge. She was purchased in 1797 and sold in 1802.\n was a 28 gun sixth rate launched in 1825, and captained by James Stirling in his journey to Western Australia. She was used for harbour service from 1832 and was broken up 1849.\n HMS Success was to have been a wood screw sloop. She was ordered but not laid down and was cancelled in 1863.\n was a launched in 1901 and wrecked in 1914.\n HMS Success was an launched in 1918. She was transferred to the Royal Australian Navy in 1919 and was sold in 1937.\n was an S-class destroyer launched in 1943. She was transferred to the Royal Norwegian Navy later that year and renamed . She was broken up in 1959.\n\nSee also\n , two ships of the Royal Australian Navy.\n\nCitations and references\nCitations\n\nReferences\n \n\nRoyal Navy ship names",
"HMAS Success was an Admiralty destroyer of the Royal Australian Navy (RAN). Built for the Royal Navy during World War I, the ship was not completed until 1919, and spent less than eight months in British service before being transferred to the RAN at the start of 1920. The destroyer's career was uneventful, with almost all of it spent in Australian waters. Success was decommissioned in 1930, and was sold for ship breaking in 1937.\n\nDesign and construction\n\nSuccess was built to the Admiralty design of the S-class destroyer, which was designed and built as part of the British emergency war programme. The destroyer had a displacement of 1,075 tons, a length of overall and between perpendiculars, and a beam of . The propulsion machinery consisted of three Yarrow boilers feeding Brown-Curtis turbines, which supplied to the ship's two propeller shafts. Success had a maximum speed of , and a range of at . The ship's company was made up of 6 officers and 93 sailors.\n\nThe destroyer's primary armament consisted of three QF 4-inch Mark IV guns. These were supplemented by a 2-pounder pom-pom, two 9.5-inch howitzer bomb throwers, five .303 inch machine guns (a mix of Lewis and Maxim guns), two twin 21-inch torpedo tube sets, two depth charge throwers, and two depth charge chutes.\n\nSuccess was laid down by William Doxford and Sons Limited at their Sunderland shipyard in 1917. The destroyer was launched on 29 June 1918, and completed on 15 April 1919. The ship was briefly commissioned into the Royal Navy in April 1919, but was quickly marked for transfer to the RAN, along with four sister ships. Success was commissioned into the RAN on 27 January 1920.\n\nOperational history\n\nSuccess and three of her sister ships sailed for Australia on 20 February, visiting ports in the Mediterranean, India, Singapore, and the Netherlands East Indies before reaching Sydney on 29 April. Success operated in Australian waters until 6 October 1921, when she was placed in reserve. The destroyer was reactivated on 1 December 1925. In late May 1926, Success visited Port Moresby.\n\nDecommissioning and fate\nSuccess paid off on 21 May 1930. She was sold to Penguins Limited for ship breaking in 1937.\n\nCitations\n\nReferences\n\nS-class destroyers (1917) of the Royal Australian Navy\nShips built on the River Wear\n1918 ships"
] |
[
"The Verve",
"A Northern Soul and first break-up (1995-1996)",
"when was the fiirst break up",
"Ashcroft broke up the band three months later, just before the release of the third single \"History\",",
"was history a success",
"reached No. 24 in September.",
"what other album was released",
"second album, 1995's A Northern Soul,",
"was it a success",
"ballad. The album reached the UK Top 20 upon its release in July,"
] |
C_9dcad5746e944bc2af815a8d7b1dabe6_0
|
who produced the albums
| 5 |
Who produced The Verve's albums?
|
The Verve
|
The band's physical and mental turmoil continued into the chaotic recording sessions of the band's second album, 1995's A Northern Soul, produced by Owen Morris. The band departed from the experimental psychedelic sounds of A Storm in Heaven and focused more on conventional alternative rock, with Ashcroft's vocals taking a more prominent role in the songs, although reminiscent of some of the early work. Around this period, Oasis guitarist and friend of Ashcroft, Noel Gallagher, dedicated the song "Cast No Shadow" on the album (What's the Story) Morning Glory? to Ashcroft, and Ashcroft returned the gesture by dedicating the song "A Northern Soul" to Noel. The band released the album's first single "This Is Music" in May, and it reached No. 35, their first single to reach the Top 40. It was followed by "On Your Own" in June which performed even better, reaching No. 28. This single was particularly new for the Verve as it was a soulful ballad. The album reached the UK Top 20 upon its release in July, but Ashcroft broke up the band three months later, just before the release of the third single "History", which reached No. 24 in September. Ashcroft later stated: "I knew that I had to do it earlier on, but I just wouldn't face it. Once you're not happy in anything, there's no point living in it, is there? But my addiction to playing and writing and being in this band was so great that I wouldn't do anything about it. It felt awful because it could have been the greatest time of our lives, with "History" doing well, but I still think I can look myself in the mirror in 30 years time and say, 'Yeah man, you did the right thing.' The others had been through the same thing. It was a mixture of sadness and regret, and relief that we would have some time away." Ashcroft reunited with Jones and Salisbury just a few weeks after the break-up, but McCabe did not rejoin them. The new band hired former Suede guitarist Bernard Butler, but he spent only a couple of days with the band. The band then chose Simon Tong, a school friend credited with originally teaching Ashcroft and Jones to play guitar. The band made no live appearances for all of 1996, apart from a solo performance from Ashcroft supporting Oasis in New York. The rest of the year was spent playing and recording songs for a new album. CANNOTANSWER
|
CANNOTANSWER
|
The Verve was an English rock band formed in Wigan in 1990 by lead vocalist Richard Ashcroft, guitarist Nick McCabe, bass guitarist Simon Jones and drummer Peter Salisbury. Guitarist and keyboard player Simon Tong later became a member in their first reunion only.
Beginning with a psychedelic sound with their debut LP A Storm in Heaven, by the mid-1990s the band had released several EPs and three albums. They also endured name and line-up changes, break-ups, health problems, drug abuse and various lawsuits. The band's commercial breakthrough was the 1997 album Urban Hymns, one of the best-selling albums in UK Chart history. The album features the hit singles "Bitter Sweet Symphony", "The Drugs Don't Work", "Sonnet" and "Lucky Man". In 1998, the band won two Brit Awards, winning Best British Group, appeared on the cover of Rolling Stone magazine in March, and in February 1999, "Bitter Sweet Symphony" was nominated for the Grammy Award for Best Rock Song.
Soon after their commercial peak, the Verve disbanded in April 1999, citing internal conflicts. According to Billboard magazine, "the group's rise was the culmination of a long, arduous journey that began at the dawn of the decade and went on to encompass a major breakup, multiple lawsuits, and an extensive diet of narcotics". During an eight-year split, Ashcroft dismissed talk of a reunion, saying: "You're more likely to get all four Beatles on stage." The band's original line-up reunited in June 2007, embarking on a tour later that year and releasing the album Forth in August 2008, which spawned the hit single "Love Is Noise". Amid revived tensions, the band broke up for the third time in 2008 following their final performance together at the V Festival, but the band didn't disclose this information until 2009.
History
Formation and Verve (1990–1992)
The founding members of the Verve met at Winstanley Sixth Form College, in Wigan, Greater Manchester, when Liam Begley introduced Richard Ashcroft to the other band members. The band was initially known as just "Verve", and their first gig was at a friend's 18th birthday party at the Honeysuckle Inn, in Wigan, on 15 August 1990. Most of the band's early material was created through extensive jam sessions. Fronted by Ashcroft, the band caused a buzz in early 1991 for their ability to captivate audiences with their musical textures and avant-garde sensibilities.
The group were signed by Hut Records in 1991 and their first studio releases in 1992, "All in the Mind", "She's a Superstar", and "Gravity Grave" (along with the December 1992 EP Verve) saw the band become a critical success, making an impression with freeform guitar work by McCabe and unpredictable vocals by Ashcroft. Those first three singles reached the first spot in the UK Indie charts, and "She's a Superstar" entered the UK Top 75 Singles Chart. The band saw some support from these early days in the United States in some music scenes in big cities like New York connected with psychedelic music.
A Storm in Heaven (1993–1994)
1993's A Storm in Heaven was the band's full-length debut, produced by record producer John Leckie. "Blue" was released as the lead single and again managed to enter in the UK Top 75 at No. 69 and reached No. 2 in the Indie charts. The album was a critical success, but was only a moderate commercial success, reaching No. 27 in the UK album chart that summer. The second single from the album, "Slide Away", topped the UK indie rock charts. During this period the band played a number of gigs with Oasis who, at the time, were relatively unknown. Furthermore, the band supported The Smashing Pumpkins on the European Part of their Siamese Dream Tour in autumn of 1993.
In 1994, the band released the album No Come Down, a compilation of b-sides plus a live version of "Gravity Grave" performed at Glastonbury Festival in 1993. It was the band's first release under the name "The Verve", following legal difficulties with jazz label Verve Records. The band then played on the travelling US alternative rock festival, Lollapalooza, in the summer of 1994. A new mix of "Blue" was released in the US to promote the band. The tour became notorious for the events of 11 July – Ashcroft was hospitalised for dehydration after a massive session of drinking and Salisbury was arrested for destroying a hotel room in Kansas in a drug-fuelled delirium. However, the band were performing again the very next day. Ashcroft later recalled: "At the start, it was an adventure, but America nearly killed us."
A Northern Soul and first break-up (1995–1996)
The Verve's physical and mental turmoil continued into the chaotic recording sessions of their second album, 1995's A Northern Soul, produced by Owen Morris. The band departed from the experimental psychedelic sounds of A Storm in Heaven and focused more on conventional alternative rock, with Ashcroft's vocals taking a more prominent role in the songs, although reminiscent of some of the early work. Around this period, Oasis guitarist and friend of Ashcroft, Noel Gallagher, dedicated the song "Cast No Shadow" on the album (What's the Story) Morning Glory? to Ashcroft, who returned the gesture by dedicating the song "A Northern Soul" to Gallagher.
The band released the album's first single "This Is Music" in May, and it reached No. 35, their first single to reach the Top 40. It was followed by "On Your Own" in June which performed even better, reaching No. 28. This single was particularly new for the Verve as it was a soulful ballad. The album reached the UK Top 20 upon its release in July, but Ashcroft broke up the band three months later, just before the release of the third single "History", which reached No. 24 in September. Ashcroft later stated: "I knew that I had to do it earlier on, but I just wouldn't face it. Once you're not happy in anything, there's no point living in it, is there? But my addiction to playing and writing and being in this band was so great that I wouldn't do anything about it. It felt awful because it could have been the greatest time of our lives, with "History" doing well, but I still think I can look myself in the mirror in 30 years time and say, 'Yeah man, you did the right thing.' The others had been through the same thing. It was a mixture of sadness and regret, and relief that we would have some time away."
Ashcroft reunited with Jones and Salisbury just a few weeks after the break-up, but McCabe did not rejoin them. The new band hired former Suede guitarist Bernard Butler, but he spent only a couple of days with the band. The band then chose Simon Tong, a school friend credited with originally teaching Ashcroft and Jones to play guitar. The band made no live appearances in 1996, apart from a solo performance from Ashcroft supporting Oasis in New York; the year was spent playing and recording songs for a new album.
Commercial success and second break-up (1997–1999)
In early 1997, Ashcroft asked McCabe to return, stating: "I got to the point where nothing other than The Verve would do for me". McCabe obliged and with the new line-up in place (Tong remained on guitar alongside McCabe), the group went through a "spiritual" recording process to finish their third album Urban Hymns, which was completed by early summer.
For the first time in their career, The Verve experienced widespread commercial success with their new material. The album's first single "Bitter Sweet Symphony" entered the UK charts at number 2 in June 1997, but its success was marred by legal problems regarding ownership of the song. Even though the group had secured permission from Decca to use a sample of 4 bars of an orchestral rendition of "The Last Time" by The Rolling Stones, giving 50% of the royalties to the original and named authors Mick Jagger & Keith Richards, they released the single without getting explicit permission from the administrator of the song's rights. When they retrospectively applied, Allen Klein, who administers the rights to the music via his company ABKCO Records, demanded 100% royalties and full publishing credits to Mick Jagger and Keith Richards. The music video for "Bitter Sweet Symphony", which received heavy rotation on MTV, focuses on Ashcroft lip-synching the song while walking down a busy London pavement, oblivious to what is going on around and refusing to change his stride or direction throughout.
In August 1997, the band began playing their first gigs in two years, beginning the Urban Hymns Tour. The next single, "The Drugs Don't Work" gave the band their first UK number 1 single in September. The album immediately reached number 1 on the charts later that month, knocking off Oasis' highly anticipated album Be Here Now in the process. The band saw an overwhelming increase in popularity overseas, and "Bitter Sweet Symphony" reached number 12 on the US charts, the band's highest ever American position. The album reached the US Top 30, going platinum in the process. Critic Mike Gee of iZINE said of this time, "The Verve, as he (Richard Ashcroft) promised, had become the greatest band in the world. ...The Verve were no longer the question mark or the cliché. They were the statement and the definition." By November the band released "Lucky Man" in the UK and reached number 7. At the 1998 Brit Awards, The Verve won the awards for Best British Group and Best British Album (Urban Hymns). The band's singles were given extensive airplay on US rock stations and Ashcroft, and bandmates, appeared on the cover of Rolling Stone magazine in March 1998. Then, as the band was on a successful tour to promote the album, Jones collapsed on stage. This was the first of many problems to come for the band in the next months. In 1998, McCabe, Tong, Jones and drummer Leon Parr formerly with Mr. So & So and Mosque were commissioned for a soundtrack for a Jonny Lee Miller film which was recorded in Kilburn. These never made it to the final film due to delays on their part. At the 1998 MTV Video Music Awards, "Bitter Sweet Symphony" was nominated for Video of the Year, Best Group Video, and Best Alternative Video.
On 24 May of that year, the band played a homecoming concert in front of 33,000 fans in the grounds of Haigh Hall & Country Park, Aspull, supported by Beck and John Martyn. The band then played gigs in mainland Europe, but, on 7 June, a post-show bust-up at Düsseldorf-Philipshalle left McCabe with a broken hand and Ashcroft with a sore jaw. After this, McCabe decided he could not tolerate the pressures of life on the road any longer and pulled out of the tour, leaving the band's future in jeopardy, with rumours of a split circulating in the press. Despite this, the band continued with session guitarist B. J. Cole replacing McCabe, whose guitar work was also sampled and triggered on stage. The band played another American tour, which was riddled with problems as venues were downsized and support act Massive Attack dropped out. The band then returned to England for two headline performances at the V Festival, which received poor reviews, with NME stating "where songs used to spiral upwards and outwards, they now simply fizzle tamely." In February 1999, "Bitter Sweet Symphony" was nominated for the Grammy Award for Best Rock Song. The Verve played their last gig at Slane Castle in Ireland on 29 August. A long period of inactivity followed. Finally, in April 1999, it was announced that The Verve had again split up.
Post-breakup activities (2000–2006)
By the time the band had split, Ashcroft had already been working on solo material accompanied by, among others, Salisbury and Cole. In 2000, he released his first solo album, Alone with Everybody, which reached number 1 in the UK album charts. Ashcroft's next album, Human Conditions, was released to poorer sales in 2002, and Ashcroft was subsequently absent from the music business for several years. During this time Salisbury was the drummer for Black Rebel Motorcycle Club's UK tour in 2004, after their original drummer briefly left due to alcohol and drug abuse. Salisbury also owns a drum shop in Stockport. Ashcroft appeared with Coldplay at Live 8 in 2005, followed by the release of Keys to the World in 2006 and a particularly successful tour that included gigs as the support act for Coldplay's Twisted Logic Tour.
Jones and Tong formed The Shining, who released one album, before disbanding in 2003. Jones went on to work with Irish musician Cathy Davey. Tong became a live replacement for ex-guitarist Graham Coxon in Blur, an additional guitarist for Gorillaz (both Jones and Tong played guitar for Demon Days Live), and a member of The Good, the Bad & the Queen. McCabe worked in different projects like the London-based Neotropic project and played with some established artists, including John Martyn, The Music, The Beta Band and Faultline.
The Verve's members sometimes expressed bitter sentiments about the band's later years. In his only interview after the split, McCabe said of Urban Hymns: "By the time I got my parts in there it's not really a music fan's record. It just sits nicely next to the Oasis record", though conceding, "I'm not going to say it was bad. I mean, we were good as far as pop goes". During his solo career, Ashcroft expressed regret at having asked McCabe to return for the album instead of releasing it under his own name, saying: "Imagine being the guy that's written an album on his own, bottles it near the end, feels like there's unfinished business, rings Nick McCabe up who adds some guitars, puts it out as the Verve and the same problems arise again. Imagine being that mug. I've now got to rewrite history. Everyone thinks those songs are somehow associated with another bunch of people that I'm not with now". Jones claimed that "The Verve were going off in a direction of strings and ballads, and that's not where I was coming from at all. Loud guitars is it for me", though noting that this was not why the band split up.
Reunion and Forth (2007–2008)
Ashcroft had been adamant that The Verve would not re-form, once remarking: "You're more likely to get all four Beatles on stage". However, after Ashcroft learned that Salisbury was in contact with McCabe over a possible side project, Ashcroft contacted McCabe and Jones, making peace with them, and the band re-formed. Tong was not asked to rejoin, so as to keep the internal issues that split the band up a decade ago to an absolute minimum. Jones explained this decision by stating: "It would have been too hard, it's hard enough for the four of us. If you bring more people to it, it's harder to communicate and communication has always been our difficulty". Paradoxically, Nick McCabe would state years later on his Twitter account, that he intended to include Davide Rossi (violist) as a new member of the group. On 26 June 2007, the band's reunion was announced by Jo Whiley on BBC Radio 1. The band, reuniting in their original line-up, announced they would tour in November 2007, and release an album in 2008. The band stated: "We are getting back together for the joy of music", though they turned down a multi-album deal offer "because the 'treadmill' of releasing albums and touring marked the beginning of the end for the band a decade ago".
Tickets for their six-gig tour in early November 2007 sold out in less than 20 minutes. The tour began in Glasgow on 2 November, and included 6 performances at the Carling Academy Glasgow, The Empress Ballroom and the London Roundhouse. Since the 6-gig tour went extremely well in sales, the band booked a second, bigger tour for December. They played at O2 arena, the SECC in Glasgow, the Odyssey in Belfast, the Nottingham Arena and Manchester Central. Each show from the first and second part of the tour were sold out immediately. The band continued touring in 2008. They played at most of the biggest summer festivals and a few headline shows all over North America, Europe, Japan and the UK between April and August. Including shows at the Coachella Valley Music and Arts Festival, also at the Madison Square Garden Theater, and the Pinkpop festival, Glastonbury Festival, T in the Park, the V Festival, Oxegen Festival, Rock Werchter, Rock am Ring and Rock im Park and The Eden Project Sessions.
New single "Love Is Noise" was premiered by Zane Lowe on BBC Radio 1 on 23 June. They performed at the coveted Sunday night slot on the Pyramid Stage at Glastonbury on 29 June, closing the show with the new song. The Verve released a free download of a non-album track, "Mover", on 30 June. The song had been performed by the band in 1994, but had never seen a proper recording until the reunion. The track was available for download from their official website for one week only.
The band announced the new album's title: Forth, which was released in the UK on 25 August and the following day in North America. The album reached No. 1 on the UK Albums Chart on 31 August. The lead single "Love Is Noise" was released in the UK on 3 August digitally and one week later (11 August) on its physical form, peaking at No. 4 in the UK. The song was a moderate success in Europe, charting at No. 16 in the European chart (with 6 weeks in the Top 20). "Rather Be", the second single from the album, was released in November but did not become as successful as "Love Is Noise" was, peaking at number 56 on the UK Singles Chart.
Third break-up (2009–present)
In August 2009, The Guardian speculated that the Verve had broken up for a third time, with Jones and McCabe no longer on speaking terms with Ashcroft as they felt he was using the reunion as a vehicle to get his solo career back on track. Being asked about the supposed split, Ashcroft told The Daily Telegraph, "I can confirm we did what we set out to do [...] Right now there are no plans to be doing anything in the near future."
McCabe and Jones have since started their own project, The Black Ships, who later changed their name to Black Submarine, along with electric violinist and arranger Davide Rossi (who also served as a touring musician of the Verve) and drummer Mig Schillace. In September 2017, Nick McCabe noted that he had not spoken to Ashcroft for over a year and that a possible reunion would be unlikely in the foreseeable future. It also saw the release of the 20th Anniversary version of Urban Hymns.
In May 2019, Ashcroft received the Ivor Novello Award for Outstanding Contribution to British Music from the British Academy of Songwriters, Composers, and Authors. At the ceremony Ashcroft revealed that following negotiations with Klein's son, Jody, and the Rolling Stones' manager Joyce Smith the dispute had been settled, stating:
Band members
Official members
Richard Ashcroft – lead and backing vocals, rhythm guitar, keyboards, percussion, kazoo (1990–1995, 1996–1999, 2007–2009)
Nick McCabe – lead guitar, keyboards, accordion (1990–1995, 1997–1998, 2007–2009)
Simon Jones – bass, occasional backing vocals (1990–1995, 1996–1999, 2007–2009)
Peter Salisbury – drums, percussion (1990–1995, 1996–1999, 2007–2009)
Simon Tong – rhythm and lead guitar, keyboards (1996–1999)
Live or session members
Bernard Butler – lead guitar (1996)
B. J. Cole – pedal steel guitar (1998)
Davide Rossi – electric viola (2008)
Timeline
Discography
A Storm in Heaven (1993)
A Northern Soul (1995)
Urban Hymns (1997)
Forth (2008)
Awards and nominations
BMI Pop Awards
|-
| 1999
| "Bitter Sweet Symphony"
| Award-Winning Song
|
D&AD Awards
|-
| 1998
| "Bitter Sweet Symphony"
| Pop Promo Video with a budget over £40.000
| style="background:#BF8040"| Wood Pencil
Denmark GAFFA Awards
!Ref.
|-
| rowspan=4|1998
| Themselves
| Best Foreign Band
|
|rowspan=4|
|-
| Urban Hymns
| Best Foreign Album
|
|-
| "Bitter Sweet Symphony"
| rowspan=2|Best Foreign Hit
|
|-
| "The Drugs Don't Work"
|
ECHO Awards
|-
| 1998
| Themselves
| Best International Newcomer
|
Grammy Awards
|-
| rowspan="2" | 1999 || rowspan="2" | "Bitter Sweet Symphony" || Best Rock Performance by a Duo or Group with Vocal ||
|-
| Best Rock Song ||
|}
Hungarian Music Awards
|-
| 2009
| Forth
| Alternative Music Album of the Year
|
Ivor Novello Awards
|-
| rowspan="2" | 1998 || Richard Ashcroft || Songwriter of the Year ||
|-
| "The Drugs Don't Work" || Best Contemporary Song ||
|}
MTV Europe Music Awards
|-
| 1997 || Themselves || Best Alternative ||
|}
Mercury Prize
|-
| 1998 || Urban Hymns || Album of the Year ||
|}
NME Awards
|-
| 1996
|A Northern Soul
| rowspan=2|Best Album
|
|-
| rowspan="6" | 1998
| Urban Hymns
|
|-
| Themselves || Best Band ||
|-
| rowspan="2" | "Bitter Sweet Symphony" || Best Music Video ||
|-
| rowspan=3|Best Single ||
|-
| "The Drugs Don't Work"
|
|-
| "Lucky Man"
|
|-
| 1999
| Themselves
| Best Band
|
|}
Q Awards
|-
| 1997 || Themselves || Best Live Act ||
|-
| 2007 || Urban Hymns || Classic Album ||
|-
| 2008 || Themselves || Best Live Act ||
|}
Brit Awards
|-
| rowspan="5" | 1998 || rowspan="2" | "Bitter Sweet Symphony" || British Single of the Year ||
|-
| British Video of the Year ||
|-
| Urban Hymns || British Album of the Year ||
|-
| rowspan="3" | Themselves || British Producer of the Year ||
|-
| British Group ||
|-
| 2009 || British Live Act ||
|}
Pollstar Concert Industry Awards
|-
| 1998
| Themselves
| Club Tour of the Year
|
Rockbjornen
|-
| rowspan="2" | 1997 || Themselves || Best Foreign Group ||
|-
| Urban Hymns || Best Foreign Album ||
|}
UK Festival Awards
|-
| rowspan="2"|2008
| Themselves
| Festival Headline Act
|
|-
| "Love is Noise"
| Anthem of the Summer
|
Žebřík Music Awards
!Ref.
|-
| rowspan=3|1997
| Themselves
| Best International Surprise
|
| rowspan=3|
|-
| rowspan="2" | "Bitter Sweet Symphony"
| Best International Song
|
|-
| Best International Video
|
References
External links
(defunct since 29 June 2013)
1990 establishments in England
1995 disestablishments in England
1997 establishments in England
1999 disestablishments in England
2007 establishments in England
2009 disestablishments in England
Brit Award winners
Britpop groups
English alternative rock groups
English psychedelic rock music groups
Neo-psychedelia groups
Music in the Metropolitan Borough of Wigan
Musical groups from Greater Manchester
Musical groups established in 1990
Musical groups reestablished in 1997
Musical groups disestablished in 1999
Musical groups reestablished in 2007
Musical groups disestablished in 2009
Musical quartets
Parlophone artists
Virgin Records artists
| false |
[
"Guilty by Affiliation is the third solo studio album by American rapper WC. It was released on August 14, 2007 via Lench Mob Records. Production was handled by Hallway Productionz, Emile, D-Mac, Jelly Roll, Laylaw, Mr. Porter, Nottz, Rick Rock, The Legendary Traxster, and Ice Cube, who served as co-producer and executive producer. It features guest appearances from Ice Cube, Butch Cassidy, Snoop Dogg and The Game. The album peaked at number 49 on the Billboard 200, at number six on the Top R&B/Hip-Hop Albums and at number five on the Top Rap Albums in the United States. The song \"This Is Los Angeles\" was used in David Ayer's 2008 film Street Kings.\n\nTrack listing\n\nCharts\n\nReferences\n\nExternal links\n\n2007 albums\nWC (rapper) albums\nAlbums produced by Nottz\nAlbums produced by Laylaw\nAlbums produced by JellyRoll\nAlbums produced by Rick Rock\nAlbums produced by Mr. Porter\nAlbums produced by Emile Haynie\nAlbums produced by The Legendary Traxster",
"Arms & Hammers is the third studio album by the American hip hop group Strong Arm Steady, released on February 22, 2011, on Blacksmith Records/Element 9. The production was handled by many names, like DJ Khalil, Nottz, Jelly Roll, Blaqthoven and Terrace Martin. Madlib, who produced the entirety of their last album, contributed just one track, the sequel of \"Chiba Chiba\".\n\nTrack listing \nConfirmed by iTunes.\n\nChart history\n\nReferences \n\n2011 albums\nStrong Arm Steady albums\nAlbums produced by David Banner\nAlbums produced by DJ Khalil\nAlbums produced by JellyRoll\nAlbums produced by Nottz\nAlbums produced by Terrace Martin\nAlbums produced by Mars (record producer)"
] |
[
"Irving Fisher",
"Utility theory"
] |
C_9a075f891b624597bc36f3a999fcbddd_0
|
When did he come up with utility theory?
| 1 |
When did Irving Fisher come up with utility theory?
|
Irving Fisher
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James Tobin argued that the intellectual breakthroughs that marked the neoclassical revolution in economics occurred in Europe around 1870. The next two decades witnessed lively debates, which led to the new theory being more or less incorporated into the classical tradition that preceded it. In the 1890s, according to Joseph A. Schumpeter there emerged A large expanse of common ground and ... a feeling of repose, both of which created, in the superficial observer, an impression of finality - the finality of a Greek temple that spreads its perfect lines against a cloudless sky. Of course, Tobin argues, the temple was by no means complete. Its building and decoration continue to this day, even while its faithful throngs worship within. American economists were not present at the creation. To a considerable extent they built their own edifice independently, designing some new architecture in the process. They participated actively in the international controversies and syntheses of the period 1870-1914. At least two Americans were prominent builders of the "temple," John Bates Clark and Irving Fisher. They and others brought neoclassical theory into American journals, classrooms, and textbooks, and its analytical tools into the kits of researchers and practitioners. Eventually, for better or worse, their paradigm would dominate economic science in this country. In reviewing the history of utility theory, economist George Stigler wrote that Fisher's doctoral thesis had been "brilliant" and stressed that it contained "the first careful examination of the measurability of the utility function and its relevance to demand theory." While his published work exhibited an unusual degree of mathematical sophistication for an economist of his day, Fisher always sought to bring his analysis to life and to present his theories as lucidly as possible. For instance, to complement the arguments in his doctoral thesis, he built an elaborate hydraulic machine with pumps and levers, allowing him to demonstrate visually how the equilibrium prices in the market adjusted in response to changes in supply or demand. CANNOTANSWER
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James Tobin argued that the intellectual breakthroughs that marked the neoclassical revolution in economics occurred in Europe around 1870.
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Irving Fisher (February 27, 1867 – April 29, 1947) was an American economist, statistician, inventor, eugenicist and progressive social campaigner. He was one of the earliest American neoclassical economists, though his later work on debt deflation has been embraced by the post-Keynesian school. Joseph Schumpeter described him as "the greatest economist the United States has ever produced", an assessment later repeated by James Tobin and Milton Friedman.
Fisher made important contributions to utility theory and general equilibrium. He was also a pioneer in the rigorous study of intertemporal choice in markets, which led him to develop a theory of capital and interest rates. His research on the quantity theory of money inaugurated the school of macroeconomic thought known as "monetarism". Fisher was also a pioneer of econometrics, including the development of index numbers. Some concepts named after him include the Fisher equation, the Fisher hypothesis, the international Fisher effect, the Fisher separation theorem and Fisher market.
Fisher was perhaps the first celebrity economist, but his reputation during his lifetime was irreparably harmed by his public statement, just nine days before the Wall Street Crash of 1929, that the stock market had reached "a permanently high plateau". His subsequent theory of debt deflation as an explanation of the Great Depression, as well as his advocacy of full-reserve banking and alternative currencies, were largely ignored in favor of the work of John Maynard Keynes. Fisher's reputation has since recovered in academic economics, particularly after his theoretical models were rediscovered in the late 1960s to the 1970s, a period of increasing reliance on mathematical models within the field. Interest in him has also grown in the public due to an increased interest in debt deflation after the Great Recession.
Fisher was one of the foremost proponents of the full-reserve banking, which he advocated as one of the authors of A Program for Monetary Reform where the general proposal is outlined.
Biography
Fisher was born in Saugerties, New York. His father was a teacher and a Congregational minister, who raised his son to believe he must be a useful member of society. Despite being raised in religious family, he later on became an atheist. As a child, he had remarkable mathematical ability and a flair for invention. A week after he was admitted to Yale College his father died, at age 53. Irving then supported his mother, brother, and himself, mainly by tutoring. He graduated first in his class with a B.A degree in 1888, having also been elected as a member of the Skull and Bones society.
In 1891, Fisher received the first Ph.D. in economics granted by Yale. His faculty advisors were the theoretical physicist Willard Gibbs and the sociologist William Graham Sumner. As a student, Fisher had shown particular talent and inclination for mathematics, but he found that economics offered greater scope for his ambition and social concerns. His thesis, published by Yale in 1892 as Mathematical Investigations in the Theory of Value and Prices, was a rigorous development of the theory of general equilibrium. When he began writing the thesis, Fisher had not been aware that Léon Walras and his continental European disciples had already covered similar ground. Nonetheless, Fisher's work was a very significant contribution and was immediately recognized and praised as first-rate by such European masters as Francis Edgeworth.
After graduating from Yale, Fisher studied in Berlin and Paris. From 1890 onward, he remained at Yale, first as a tutor, then after 1898 as a professor of political economy, and after 1935 as professor emeritus. He edited the Yale Review from 1896 to 1910 and was active in many learned societies, institutes, and welfare organizations. He was president of the American Economic Association in 1918. The American Mathematical Society selected him as its Gibbs Lecturer for 1929. A leading early proponent of econometrics, in 1930 he founded, with Ragnar Frisch and Charles F. Roos the Econometric Society, of which he was the first president.
Fisher was a prolific writer, producing journalism as well as technical books and articles, and addressing various social issues surrounding the First World War, the prosperous 1920s and the depressed 1930s. He made several practical inventions, the most notable of which was an "index visible filing system" which he patented in 1913 and sold to Kardex Rand (later Remington Rand) in 1925. This, and his subsequent stock investments, made him a wealthy man until his personal finances were badly hit by the Crash of 1929.
Fisher was also an active social and health campaigner, as well as an advocate of vegetarianism, prohibition, and eugenics. In 1893, he married Margaret Hazard, a granddaughter of Rhode Island industrialist and social reformer Rowland G. Hazard. He died of inoperable colon cancer in New York City in 1947, at the age of 80.
Economic theories
Utility theory
James Tobin, writing on the contributions of John Bates Clark and Irving Fisher to neoclassical theory in America argues that American economists contributed in their own way to the preparation of a common ground after the neoclassical revolution. In particular Clark and Irving Fisher “brought neoclassical theory into American journals, classrooms, and textbooks, and its analytical tools into the kits of researchers and practitioners.” Already in his doctoral thesis, “Fisher expounds thoroughly the mathematics of utility functions and their maximization, and he is careful to allow for corner solutions.” Already then, Fisher “states clearly that neither interpersonally comparable utility nor cardinal utility for each individual is necessary to the determination of equilibrium."
In reviewing the history of utility theory, economist George Stigler wrote that Fisher's doctoral thesis had been "brilliant" and stressed that it contained "the first careful examination of the measurability of the utility function and its relevance to demand theory." While his published work exhibited an unusual degree of mathematical sophistication for an economist of his day, Fisher always sought to bring his analysis to life and to present his theories as lucidly as possible. For instance, to complement the arguments in his doctoral thesis, he built an elaborate hydraulic machine with pumps and levers, allowing him to demonstrate visually how the equilibrium prices in the market adjusted in response to changes in supply or demand.
Interest and capital
Fisher is probably best remembered today in neoclassical economics for his theory of capital, investment, and interest rates, first exposited in his The Nature of Capital and Income (1906) and elaborated on in The Rate of Interest (1907). His 1930 treatise, The Theory of Interest, summed up a lifetime's research into capital, capital budgeting, credit markets, and the factors (including inflation) that determine interest rates.
Fisher saw that subjective economic value is not only a function of the amount of goods and services owned or exchanged, but also of the moment in time when they are purchased with money. A good available now has a different value than the same good available at a later date; value has a time as well as a quantity dimension. The relative price of goods available at a future date, in terms of goods sacrificed now, is measured by the interest rate. Fisher made free use of the standard diagrams used to teach undergraduate economics, but labeled the axes "consumption now" and "consumption next period" (instead of the usual schematic alternatives of "apples" and "oranges"). The resulting theory, one of considerable power and insight, was presented in detail in The Theory of Interest.
This model, later generalized to the case of K goods and N periods (including the case of infinitely many periods) has become a standard theory of capital and interest, and is described in Gravelle and Rees, and Aliprantis, Brown, and Burkinshaw. This theoretical advance is explained in Hirshleifer.
Fisher saw that the economic policy of what he did for his theory for was something that was making an impact on society as a whole. He was seen as the “greatest American economist of his time”, taking the skills of what he learned in mathematics and decided to incorporate it into economics for the greater good of the field of study. Once he brought out his Quantity Theory of Money, it started to take economic models and bring more of a life to them in the aspects of the mathematics included with it. With addressing models have the different axes labeled, there has been so much that he has contributed to the economic world. One of the strongest points that Fisher brings out in discussing interest rates was the power of impatience and time. When examining how a certain item can be valued during a point of time, then seeing how much it is in a different time, justified by interest, speaks out volumes of what is happening in the world. The impatience of humans with their nature of not wanting to wait for certain items speaks out to what is going in, with relations to interest rates. When an individual begins to wait, there is much that happens in relations with the interest rates. Overall, it becomes more of a monetary value that humans end up going for with not waiting for purchase something in the different period instead of the current. At the end, Fisher has left a huge impact the world on economics.
Monetary economics
Fisher's research into the basic theory of prices and interest rates did not touch directly on the great social issues of the day. On the other hand, his monetary economics did and this grew to be the main focus of Fisher's mature work.
It was Fisher who (following the pioneering work of Simon Newcomb) formulated the quantity theory of money in terms of the "equation of exchange:" Let M be the total stock of money, P the price level, T the amount of transactions carried out using money, and V the velocity of circulation of money, so that
Later economists replaced T by the real output Y (or Q), usually quantified by the real Gross domestic product (GDP).
Fisher's Appreciation and Interest was an abstract analysis of the behavior of interest rates when the price level is changing. It emphasized the distinction between real and nominal interest rates:
where is the real interest rate, is the nominal interest rate, and the inflation is a measure of the increase in the price level. When inflation is sufficiently low, the real interest rate can be approximated as the nominal interest rate minus the expected inflation rate. The resulting equation is known as the Fisher equation in his honor.
Fisher believed that investors and savers – people in general – were afflicted in varying degrees by "money illusion"; they could not see past the money to the goods the money could buy. In an ideal world, changes in the price level would have no effect on production or employment. In the actual world with money illusion, inflation (and deflation) did serious harm. For more than forty years, Fisher elaborated his vision of the damaging "dance of the dollar" and devised various schemes to "stabilize" money, i.e. to stabilize the price level. He was one of the first to subject macroeconomic data, including the money stock, interest rates, and the price level, to statistical analyses and tests. In the 1920s, he introduced the technique later called distributed lags. In 1973, the Journal of Political Economy posthumously reprinted his 1926 paper on the statistical relation between unemployment and inflation, retitling it as "I discovered the Phillips curve". Index numbers played an important role in his monetary theory, and his book The Making of Index Numbers has remained influential down to the present day.
Fisher's main intellectual rival was the Swedish economist Knut Wicksell. Fisher espoused a more succinct explanation of the quantity theory of money, resting it almost exclusively on long run prices. Wicksell's theory was considerably more complicated, beginning with interest rates in a system of changes in the real economy. Although both economists concluded from their theories that at the heart of the business cycle (and economic crisis) was government monetary policy, their disagreement would not be solved in their lifetimes, and indeed, it was inherited by the policy debates between the Keynesians and monetarists beginning a half-century later.
Debt-deflation
Following the stock market crash of 1929, and in light of the ensuing Great Depression, Fisher developed a theory of economic crises called debt-deflation, which attributed the crises to the bursting of a credit bubble. Initially, during the upswing over-confident economic agents are lured by the prospect of high profits to increase their debt in order to leverage their gains. According to Fisher, once the credit bubble bursts, this unleashes a series of effects that have serious negative impact on the real economy:
Debt liquidation and distress selling.
Contraction of the money supply as bank loans are paid off.
A fall in the level of asset prices.
A still greater fall in the net worth of businesses, precipitating bankruptcies.
A fall in profits.
A reduction in output, in trade and in employment.
Pessimism and loss of confidence.
Hoarding of money.
A fall in nominal interest rates and a rise in deflation-adjusted interest rates.
Crucially, as debtors try to liquidate or pay off their nominal debt, the fall of prices caused by this defeats the very attempt to reduce the real burden of debt. Thus, while repayment reduces the amount of money owed, this does not happen fast enough since the real value of the dollar now rises ('swelling of the dollar').
This theory was largely ignored in favor of Keynesian economics, in part because of the damage to Fisher's reputation caused by his public optimism about the stock market, just prior to the crash. Debt-deflation has experienced a revival of mainstream interest since the 1980s, and particularly with the Late-2000s recession. Steve Keen predicted the 2008 recession by using Hyman Minsky's further development of Fisher's work on debt-deflation. Debt-deflation is now the major theory with which Fisher's name is associated.
Stock market crash of 1929
The stock market crash of 1929 and the subsequent Great Depression cost Fisher much of his personal wealth and academic reputation. He famously predicted, nine days before the crash, that stock prices had "reached what looks like a permanently high plateau." Irving Fisher stated on October 21 that the market was "only shaking out of the lunatic fringe" and went on to explain why he felt the prices still had not caught up with their real value and should go much higher. On Wednesday, October 23, he announced in a banker's meeting "security values in most instances were not inflated." For months after the Crash, he continued to assure investors that a recovery was just around the corner. Once the Great Depression was in full force, he did warn that the ongoing drastic deflation was the cause of the disastrous cascading insolvencies then plaguing the American economy because deflation increased the real value of debts fixed in dollar terms. Fisher was so discredited by his 1929 pronouncements and by the failure of a firm he had started that few people took notice of his "debt-deflation" analysis of the Depression. People instead eagerly turned to the ideas of Keynes. Fisher's debt-deflation scenario has since seen a revival since the 1980s.
Constructive Income Taxation
Lawrence Lokken, the University of Miami School of Law professor of economics, credits
Fisher's 1942 book with the concept behind the Unlimited Savings Accumulation Tax, a reform introduced in the United States Senate in 1995 by Senator Pete Domenici (R-New Mexico), former Senator Sam Nunn (D-Georgia), and Senator Bob Kerrey (D-Nebraska). The concept was that unnecessary spending (which is hard to define in a law) can be taxed by taxing income minus all net investments and savings, and minus an allowance for essential purchases, thus making funds available for investment.
Social and health campaigns
In 1898, Fisher was diagnosed with tuberculosis, the same disease that had killed his father. He spent three years in sanatoria, finally making a full recovery. That experience sparked in him a vocation as a health campaigner. He was one of the founders of the Life Extension Institute, under whose auspices he co-authored the bestselling book How to Live: Rules for Healthful Living Based on Modern Science, published in 1915. He advocated regular exercise and the avoidance of red meat, tobacco, and alcohol. In 1924, Fisher wrote an anti-smoking article for the Reader's Digest, which argued that "tobacco lowers the whole tone of the body and decreases its vital power and resistance ... [it] acts like a narcotic poison, like opium and like alcohol, though usually in a less degree".
Fisher supported the legal prohibition of alcohol and wrote three booklets defending prohibition in the United States on grounds of public health and economic productivity. As a proponent of Eugenics he helped found the Race Betterment Foundation in 1906. He also defended eugenics, serving in the scientific advisory board of the Eugenics Record Office and as first president of the American Eugenics Society.
When his daughter Margaret was diagnosed with schizophrenia, Fisher had her treated at the New Jersey State Hospital at Trenton, whose director was the psychiatrist Henry Cotton. Cotton believed in a "focal sepsis" theory, according to which mental illness resulted from infectious material in the roots of teeth, bowel recesses, and other places in the body. Cotton also claimed that surgical removal of the infected tissue could alleviate the patient's mental disorder. At Trenton, Margaret Fisher had sections of her bowel and colon removed, which eventually resulted in her death. Irving Fisher nonetheless remained convinced of the validity of Cotton's treatment.
Selected publications
Fisher, Irving Norton, 1961. A Bibliography of the Writings of Irving Fisher (1961). Compiled by Fisher's son; contains 2425 entries.
Primary
1892. Mathematical Investigations in the Theory of Value and Prices. Scroll to chapter links.
1896. Appreciation and Interest. Link.
1906. The Nature of Capital and Income. Scroll to chapter links.
1907. The Rate of Interest. Extracts from Preface and Appendix to ch. VII.
1910, 1914. Introduction to Economic Science. Section links.
1911a, 1922, 2nd ed. The Purchasing Power of Money: Its Determination and Relation to Credit, Interest, and Crises. Scroll to chapter links from Library of Economics and Liberty (LE&L). Full text of 1920 edition online via FRASER
1911b, 1913. Elementary Principles of Economics. Scroll to chapter links.
1915. How to Live: Rules for Healthful Living Based on Modern Science (with Eugene Lyon Fisk). Link.
1918, "Is 'Utility' the Most Suitable Term for the Concept It is Used to Denote?" American Economic Review, pp. 335–37]. Reprint.
1921a. "Dollar Stabilization," Encyclopædia Britannica 12th ed.. XXX, pp. 852–853. Reprint page links from LE&L.
1921b, The Best Form of Index Number, American Statistical Association Quarterly. 17(133), pp. pp. 533–537.
1922. The Making of Index Numbers: A Study of Their Varieties, Tests, and Reliability. Scroll to chapter links,
1923, "The Business Cycle Largely a 'Dance of the Dollar'," Journal of the American Statistical Association, 18, pp. 1024–28. Link.
1926, "A Statistical Relation between Unemployment and Price Changes," International Labour Review, 13(6), p pp. 785–92. Reprinted as 1973, "I Discovered the Phillips Curve: A Statistical Relation between Unemployment and Price Changes'," Journal of Political Economy, 81(2, Part 1), p pp. 496–502.
1927, "A Statistical Method for Measuring 'Marginal Utility' and Testing the Justice of a Progressive Income Tax" in Economic Essays Contributed in Honor of John Bates Clark .
1928, The Money Illusion, New York: Adelphi Company. Scroll to chapter-preview links.
1930a. The Stock Market Crash and After.
1930b. The Theory of Interest. Chapter I. Chapter links, each numbered by paragraph via LE&L.
1932. Booms and Depressions: Some First Principles. full text online via FRASER.
1933b. Stamp Scrip. full text online
1935. 100% Money. full text online
1942. "Constructive Income Taxation: A Proposal for Reform." New York: Harper & Brothers.
1996. The Works of Irving Fisher. edited by William J. Barber et al. 14 volumes London : Pickering & Chatto.
See also
Chicago plan
Eugenics in the United States
Ham and Eggs Movement, California pension reform plan, 1938–40
Library of Economics and Liberty
Marginalism
Milton Friedman
2018 Swiss sovereign-money initiative
References
Further reading
Allen, Robert Loring (1993). Irving Fisher: A Biography
Dimand, Robert W. (2020). "J. Laurence Laughlin versus Irving Fisher on the quantity theory of money, 1894 to 1913." Oxford Economic Papers
Dimand, Robert W. (2003). "Irving Fisher on the International Transmission of Booms and Depressions through Monetary Standards." Journal of Money, Credit & Banking. Vol: 35#1 pp 49+. online edition
Dimand, Robert W. (1993). "The Dance of the Dollar: Irving Fisher's Monetary Theory of Economic Fluctuations," History of Economics Review 20:161–172.
Dimand, Robert W. (1994). "Irving Fisher's Debt-Deflation Theory of Great Depressions," Review of Social Economy 52:92–107
Dimand, Robert W., and Geanakoplos, John (2005). "Celebrating Irving Fisher: The Legacy of a Great Economist" American Journal of Economics & Sociology, Jan 2005, Vol. 64 Issue 1, pp. 3–18
(1958). The Economic Mind in American Civilization, vol. 3.
Fellner, William, ed. (1967). Ten Economic Studies in the Tradition of Irving Fisher
Fisher, Irving Norton (1956). My Father Irving Fisher.
Schumpeter, Joseph (1951). Ten Great Economists: 222–38.
Schumpeter, Joseph (1954). A History of Economic Analysis (1954)
Thaler, Richard (1999). "Irving Fisher: Behavioral Economist," American Economic Review.
Tobin, James (1987). "Fisher, Irving," The New Palgrave: A Dictionary of Economics, Vol. 2: 369–76. Reprinted in American Journal of Economics and Sociology, Jan, 2005, 17 pages.
Tobin, James (1985). "Neoclassical Theory in America: J. B. Clark and Fisher" American Economic Review (Dec 1985) vol 75#6 pp. 28–38 in JSTOR
External links
Archive for the History of Economic Thought at McMaster University
New School for Social Research website:
Irving Fisher, 1867–1947. Includes a photograph of the young Fisher. For a photograph of the older man, see Irving Fisher on the Portraits of Statisticians page.
Irving Fisher's Theory of Investment.
Irving Fisher Papers (MS 212). Manuscripts and Archives, Yale University Library.
Herbert Scarf, William C.Brainard, "How to Compute Equilibrium Prices in 1891". Cowles Foundation Discussion Paper 1272, August 2000 – for the description of Fisher's hydraulic apparatus.
Works by or about Irving Fisher on FRASER
American atheists
Economists from New York (state)
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Neoclassical economists
1867 births
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American temperance activists
Activists from New York (state)
Tobacco researchers
American eugenicists
Presidents of the American Economic Association
Presidents of the American Statistical Association
Fellows of the Econometric Society
Presidents of the Econometric Society
Yale University alumni
People from Saugerties, New York
19th-century economists
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Mathematicians from New York (state)
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"Generalized expected utility is a decision-making metric based on any of a variety of theories that attempt to resolve some discrepancies between expected utility theory and empirical observations, concerning choice under risky (probabilistic) circumstances. Given its motivations and approach, generalized expected utility theory may properly be regarded as a subfield of behavioral economics, but it is more frequently located within mainstream economic theory.\n\nThe expected utility model developed by John von Neumann and Oskar Morgenstern dominated decision theory from its formulation in 1944 until the late 1970s, not only as a prescriptive, but also as a descriptive model, despite powerful criticism from Maurice Allais and Daniel Ellsberg who showed that, in certain choice problems, decisions were usually inconsistent with the axioms of expected utility theory. These problems are usually referred to as the Allais paradox and Ellsberg paradox. \n\nBeginning in 1979 with the publication of the prospect theory of Daniel Kahneman and Amos Tversky, a range of generalized expected utility models were developed with the aim of resolving the Allais and Ellsberg paradoxes, while maintaining many of the attractive properties of expected utility theory. Important examples were anticipated utility theory, later referred to as rank-dependent utility theory, weighted utility (Chew 1982), and expected uncertain utility theory. A general representation, using the concept of the local utility function was presented by Mark J. Machina. Since then, generalizations of expected utility theory have proliferated, but the probably most frequently used model is nowadays cumulative prospect theory, a rank-dependent development of prospect theory, introduced in 1992 by Daniel Kahneman and Amos Tversky.\n\nReferences \n\nExpected utility\nMotivation\nOptimal decisions",
"In microeconomics, a consumer's Marshallian demand function (named after Alfred Marshall) is the quantity he/she demands of a particular good as a function of its price, his/her income, and the prices of other goods, a more technical exposition of the standard demand function. It is a solution to the utility maximization problem of how the consumer can maximize his/her utility for given income and prices. A synonymous term is uncompensated demand function, because when the price rises the consumer is not compensated with higher nominal income for the fall in his/her real income, unlike in the Hicksian demand function. Thus the change in quantity demanded is a combination of a substitution effect and a wealth effect. Although Marshallian demand is in the context of partial equilibrium theory, it is sometimes called Walrasian demand as used in general equilibrium theory (named after Léon Walras).\n\nAccording to the utility maximization problem, there are L commodities with price vector p and choosable quantity vector x. The consumer has income I, and hence a budget set of affordable packages\n\nwhere is the inner product of the price and quantity vectors. The consumer has a utility function\n\nThe consumer's Marshallian demand correspondence is defined to be\n\nRevealed preference \nMarshall's theory suggests that pursuit of utility is a motivational factor to a consumer which can be attained through the consumption of goods or service. The amount of consumer's utility is dependent on the level of consumption of a certain good, which is subject to the fundamental tendency of human nature and it is described as the law of diminishing marginal utility. \n\nAs utility maximum always exists, Marshallian demand correspondence must be nonempty at every value that corresponds with the standard budget set.\n\nUniqueness \n is called a correspondence because in general it may be set-valued - there may be several different bundles that attain the same maximum utility. In some cases, there is a unique utility-maximizing bundle for each price and income situation; then, is a function and it is called the Marshallian demand function. \n\nIf the consumer has strictly convex preferences and the prices of all goods are strictly positive, then there is a unique utility-maximizing bundle. To prove this, suppose, by contradiction, that there are two different bundles, and , that maximize the utility. Then and are equally preferred. By definition of strict convexity, the mixed bundle is strictly better than . But this contradicts the optimality of .\n\nContinuity \nThe maximum theorem implies that if:\n The utility function is continuous with respect to ,\n The correspondence is non-empty, compact-valued, and continuous with respect to ,\nthen is an upper-semicontinuous correspondence. Moreover, if is unique, then it is a continuous function of and .\n\nCombining with the previous subsection, if the consumer has strictly convex preferences, then the Marshallian demand is unique and continuous. In contrast, if the preferences are not convex, then the Marshallian demand may be non-unique and non-continuous.\n\nHomogeneity \nThe optimal Marshallian demand correspondence of a continuous utility function is a homogeneous function with degree zero. This means that for every constant \n\nThis is intuitively clear. Suppose and are measured in dollars. When , and are exactly the same quantities measured in cents. When prices and wealth go up by a factor a, the purchasing pattern of an economic agent remains constant. Obviously, expressing in different unit of measurement for prices and income should not affect the demand.\n\nDemand curve \nMarshall's theory exploits that demand curve represents individual's diminishing marginal values of the good. The theory insists that the consumer's purchasing decision is dependent on the gainable utility of a goods or services compared to the price since the additional utility that the consumer gain must be at least as great as the price. The following suggestion proposes that the price demanded is equal to the maximum price that the consumer would pay for an extra unit of good or service. Hence, the utility is held constant along the demand curve. When the marginal utility of income is constant, or its value is the same across individuals within a market demand curve, generating net benefits of purchased units, or consumer surplus is possible through adding up of demand prices.\n\nExamples\nIn the following examples, there are two commodities, 1 and 2. \n\n1. The utility function has the Cobb–Douglas form:\n\nThe constrained optimization leads to the Marshallian demand function:\n\n2. The utility function is a CES utility function:\n\nThen\n\nIn both cases, the preferences are strictly convex, the demand is unique and the demand function is continuous.\n\n3. The utility function has the linear form:\n\nThe utility function is only weakly convex, and indeed the demand is not unique: when , the consumer may divide his income in arbitrary ratios between product types 1 and 2 and get the same utility.\n\n4. The utility function exhibits a non-diminishing marginal rate of substitution:\n \nThe utility function is not convex, and indeed the demand is not continuous: when , the consumer demands only product 1, and when , the consumer demands only product 2 (when the demand correspondence contains two distinct bundles: either buy only product 1 or buy only product 2).\n\nSee also\n Hicksian demand function\n Utility maximization problem\n Slutsky equation\n\nReferences\n \n \n\n \n\n \n \n\nDemand"
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"James Tobin argued that the intellectual breakthroughs that marked the neoclassical revolution in economics occurred in Europe around 1870."
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C_9a075f891b624597bc36f3a999fcbddd_0
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What are the features of this theory?
| 2 |
What are the features of Irving Fisher's utility theory?
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Irving Fisher
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James Tobin argued that the intellectual breakthroughs that marked the neoclassical revolution in economics occurred in Europe around 1870. The next two decades witnessed lively debates, which led to the new theory being more or less incorporated into the classical tradition that preceded it. In the 1890s, according to Joseph A. Schumpeter there emerged A large expanse of common ground and ... a feeling of repose, both of which created, in the superficial observer, an impression of finality - the finality of a Greek temple that spreads its perfect lines against a cloudless sky. Of course, Tobin argues, the temple was by no means complete. Its building and decoration continue to this day, even while its faithful throngs worship within. American economists were not present at the creation. To a considerable extent they built their own edifice independently, designing some new architecture in the process. They participated actively in the international controversies and syntheses of the period 1870-1914. At least two Americans were prominent builders of the "temple," John Bates Clark and Irving Fisher. They and others brought neoclassical theory into American journals, classrooms, and textbooks, and its analytical tools into the kits of researchers and practitioners. Eventually, for better or worse, their paradigm would dominate economic science in this country. In reviewing the history of utility theory, economist George Stigler wrote that Fisher's doctoral thesis had been "brilliant" and stressed that it contained "the first careful examination of the measurability of the utility function and its relevance to demand theory." While his published work exhibited an unusual degree of mathematical sophistication for an economist of his day, Fisher always sought to bring his analysis to life and to present his theories as lucidly as possible. For instance, to complement the arguments in his doctoral thesis, he built an elaborate hydraulic machine with pumps and levers, allowing him to demonstrate visually how the equilibrium prices in the market adjusted in response to changes in supply or demand. CANNOTANSWER
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In reviewing the history of utility theory, economist George Stigler wrote that Fisher's doctoral thesis had been "brilliant"
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Irving Fisher (February 27, 1867 – April 29, 1947) was an American economist, statistician, inventor, eugenicist and progressive social campaigner. He was one of the earliest American neoclassical economists, though his later work on debt deflation has been embraced by the post-Keynesian school. Joseph Schumpeter described him as "the greatest economist the United States has ever produced", an assessment later repeated by James Tobin and Milton Friedman.
Fisher made important contributions to utility theory and general equilibrium. He was also a pioneer in the rigorous study of intertemporal choice in markets, which led him to develop a theory of capital and interest rates. His research on the quantity theory of money inaugurated the school of macroeconomic thought known as "monetarism". Fisher was also a pioneer of econometrics, including the development of index numbers. Some concepts named after him include the Fisher equation, the Fisher hypothesis, the international Fisher effect, the Fisher separation theorem and Fisher market.
Fisher was perhaps the first celebrity economist, but his reputation during his lifetime was irreparably harmed by his public statement, just nine days before the Wall Street Crash of 1929, that the stock market had reached "a permanently high plateau". His subsequent theory of debt deflation as an explanation of the Great Depression, as well as his advocacy of full-reserve banking and alternative currencies, were largely ignored in favor of the work of John Maynard Keynes. Fisher's reputation has since recovered in academic economics, particularly after his theoretical models were rediscovered in the late 1960s to the 1970s, a period of increasing reliance on mathematical models within the field. Interest in him has also grown in the public due to an increased interest in debt deflation after the Great Recession.
Fisher was one of the foremost proponents of the full-reserve banking, which he advocated as one of the authors of A Program for Monetary Reform where the general proposal is outlined.
Biography
Fisher was born in Saugerties, New York. His father was a teacher and a Congregational minister, who raised his son to believe he must be a useful member of society. Despite being raised in religious family, he later on became an atheist. As a child, he had remarkable mathematical ability and a flair for invention. A week after he was admitted to Yale College his father died, at age 53. Irving then supported his mother, brother, and himself, mainly by tutoring. He graduated first in his class with a B.A degree in 1888, having also been elected as a member of the Skull and Bones society.
In 1891, Fisher received the first Ph.D. in economics granted by Yale. His faculty advisors were the theoretical physicist Willard Gibbs and the sociologist William Graham Sumner. As a student, Fisher had shown particular talent and inclination for mathematics, but he found that economics offered greater scope for his ambition and social concerns. His thesis, published by Yale in 1892 as Mathematical Investigations in the Theory of Value and Prices, was a rigorous development of the theory of general equilibrium. When he began writing the thesis, Fisher had not been aware that Léon Walras and his continental European disciples had already covered similar ground. Nonetheless, Fisher's work was a very significant contribution and was immediately recognized and praised as first-rate by such European masters as Francis Edgeworth.
After graduating from Yale, Fisher studied in Berlin and Paris. From 1890 onward, he remained at Yale, first as a tutor, then after 1898 as a professor of political economy, and after 1935 as professor emeritus. He edited the Yale Review from 1896 to 1910 and was active in many learned societies, institutes, and welfare organizations. He was president of the American Economic Association in 1918. The American Mathematical Society selected him as its Gibbs Lecturer for 1929. A leading early proponent of econometrics, in 1930 he founded, with Ragnar Frisch and Charles F. Roos the Econometric Society, of which he was the first president.
Fisher was a prolific writer, producing journalism as well as technical books and articles, and addressing various social issues surrounding the First World War, the prosperous 1920s and the depressed 1930s. He made several practical inventions, the most notable of which was an "index visible filing system" which he patented in 1913 and sold to Kardex Rand (later Remington Rand) in 1925. This, and his subsequent stock investments, made him a wealthy man until his personal finances were badly hit by the Crash of 1929.
Fisher was also an active social and health campaigner, as well as an advocate of vegetarianism, prohibition, and eugenics. In 1893, he married Margaret Hazard, a granddaughter of Rhode Island industrialist and social reformer Rowland G. Hazard. He died of inoperable colon cancer in New York City in 1947, at the age of 80.
Economic theories
Utility theory
James Tobin, writing on the contributions of John Bates Clark and Irving Fisher to neoclassical theory in America argues that American economists contributed in their own way to the preparation of a common ground after the neoclassical revolution. In particular Clark and Irving Fisher “brought neoclassical theory into American journals, classrooms, and textbooks, and its analytical tools into the kits of researchers and practitioners.” Already in his doctoral thesis, “Fisher expounds thoroughly the mathematics of utility functions and their maximization, and he is careful to allow for corner solutions.” Already then, Fisher “states clearly that neither interpersonally comparable utility nor cardinal utility for each individual is necessary to the determination of equilibrium."
In reviewing the history of utility theory, economist George Stigler wrote that Fisher's doctoral thesis had been "brilliant" and stressed that it contained "the first careful examination of the measurability of the utility function and its relevance to demand theory." While his published work exhibited an unusual degree of mathematical sophistication for an economist of his day, Fisher always sought to bring his analysis to life and to present his theories as lucidly as possible. For instance, to complement the arguments in his doctoral thesis, he built an elaborate hydraulic machine with pumps and levers, allowing him to demonstrate visually how the equilibrium prices in the market adjusted in response to changes in supply or demand.
Interest and capital
Fisher is probably best remembered today in neoclassical economics for his theory of capital, investment, and interest rates, first exposited in his The Nature of Capital and Income (1906) and elaborated on in The Rate of Interest (1907). His 1930 treatise, The Theory of Interest, summed up a lifetime's research into capital, capital budgeting, credit markets, and the factors (including inflation) that determine interest rates.
Fisher saw that subjective economic value is not only a function of the amount of goods and services owned or exchanged, but also of the moment in time when they are purchased with money. A good available now has a different value than the same good available at a later date; value has a time as well as a quantity dimension. The relative price of goods available at a future date, in terms of goods sacrificed now, is measured by the interest rate. Fisher made free use of the standard diagrams used to teach undergraduate economics, but labeled the axes "consumption now" and "consumption next period" (instead of the usual schematic alternatives of "apples" and "oranges"). The resulting theory, one of considerable power and insight, was presented in detail in The Theory of Interest.
This model, later generalized to the case of K goods and N periods (including the case of infinitely many periods) has become a standard theory of capital and interest, and is described in Gravelle and Rees, and Aliprantis, Brown, and Burkinshaw. This theoretical advance is explained in Hirshleifer.
Fisher saw that the economic policy of what he did for his theory for was something that was making an impact on society as a whole. He was seen as the “greatest American economist of his time”, taking the skills of what he learned in mathematics and decided to incorporate it into economics for the greater good of the field of study. Once he brought out his Quantity Theory of Money, it started to take economic models and bring more of a life to them in the aspects of the mathematics included with it. With addressing models have the different axes labeled, there has been so much that he has contributed to the economic world. One of the strongest points that Fisher brings out in discussing interest rates was the power of impatience and time. When examining how a certain item can be valued during a point of time, then seeing how much it is in a different time, justified by interest, speaks out volumes of what is happening in the world. The impatience of humans with their nature of not wanting to wait for certain items speaks out to what is going in, with relations to interest rates. When an individual begins to wait, there is much that happens in relations with the interest rates. Overall, it becomes more of a monetary value that humans end up going for with not waiting for purchase something in the different period instead of the current. At the end, Fisher has left a huge impact the world on economics.
Monetary economics
Fisher's research into the basic theory of prices and interest rates did not touch directly on the great social issues of the day. On the other hand, his monetary economics did and this grew to be the main focus of Fisher's mature work.
It was Fisher who (following the pioneering work of Simon Newcomb) formulated the quantity theory of money in terms of the "equation of exchange:" Let M be the total stock of money, P the price level, T the amount of transactions carried out using money, and V the velocity of circulation of money, so that
Later economists replaced T by the real output Y (or Q), usually quantified by the real Gross domestic product (GDP).
Fisher's Appreciation and Interest was an abstract analysis of the behavior of interest rates when the price level is changing. It emphasized the distinction between real and nominal interest rates:
where is the real interest rate, is the nominal interest rate, and the inflation is a measure of the increase in the price level. When inflation is sufficiently low, the real interest rate can be approximated as the nominal interest rate minus the expected inflation rate. The resulting equation is known as the Fisher equation in his honor.
Fisher believed that investors and savers – people in general – were afflicted in varying degrees by "money illusion"; they could not see past the money to the goods the money could buy. In an ideal world, changes in the price level would have no effect on production or employment. In the actual world with money illusion, inflation (and deflation) did serious harm. For more than forty years, Fisher elaborated his vision of the damaging "dance of the dollar" and devised various schemes to "stabilize" money, i.e. to stabilize the price level. He was one of the first to subject macroeconomic data, including the money stock, interest rates, and the price level, to statistical analyses and tests. In the 1920s, he introduced the technique later called distributed lags. In 1973, the Journal of Political Economy posthumously reprinted his 1926 paper on the statistical relation between unemployment and inflation, retitling it as "I discovered the Phillips curve". Index numbers played an important role in his monetary theory, and his book The Making of Index Numbers has remained influential down to the present day.
Fisher's main intellectual rival was the Swedish economist Knut Wicksell. Fisher espoused a more succinct explanation of the quantity theory of money, resting it almost exclusively on long run prices. Wicksell's theory was considerably more complicated, beginning with interest rates in a system of changes in the real economy. Although both economists concluded from their theories that at the heart of the business cycle (and economic crisis) was government monetary policy, their disagreement would not be solved in their lifetimes, and indeed, it was inherited by the policy debates between the Keynesians and monetarists beginning a half-century later.
Debt-deflation
Following the stock market crash of 1929, and in light of the ensuing Great Depression, Fisher developed a theory of economic crises called debt-deflation, which attributed the crises to the bursting of a credit bubble. Initially, during the upswing over-confident economic agents are lured by the prospect of high profits to increase their debt in order to leverage their gains. According to Fisher, once the credit bubble bursts, this unleashes a series of effects that have serious negative impact on the real economy:
Debt liquidation and distress selling.
Contraction of the money supply as bank loans are paid off.
A fall in the level of asset prices.
A still greater fall in the net worth of businesses, precipitating bankruptcies.
A fall in profits.
A reduction in output, in trade and in employment.
Pessimism and loss of confidence.
Hoarding of money.
A fall in nominal interest rates and a rise in deflation-adjusted interest rates.
Crucially, as debtors try to liquidate or pay off their nominal debt, the fall of prices caused by this defeats the very attempt to reduce the real burden of debt. Thus, while repayment reduces the amount of money owed, this does not happen fast enough since the real value of the dollar now rises ('swelling of the dollar').
This theory was largely ignored in favor of Keynesian economics, in part because of the damage to Fisher's reputation caused by his public optimism about the stock market, just prior to the crash. Debt-deflation has experienced a revival of mainstream interest since the 1980s, and particularly with the Late-2000s recession. Steve Keen predicted the 2008 recession by using Hyman Minsky's further development of Fisher's work on debt-deflation. Debt-deflation is now the major theory with which Fisher's name is associated.
Stock market crash of 1929
The stock market crash of 1929 and the subsequent Great Depression cost Fisher much of his personal wealth and academic reputation. He famously predicted, nine days before the crash, that stock prices had "reached what looks like a permanently high plateau." Irving Fisher stated on October 21 that the market was "only shaking out of the lunatic fringe" and went on to explain why he felt the prices still had not caught up with their real value and should go much higher. On Wednesday, October 23, he announced in a banker's meeting "security values in most instances were not inflated." For months after the Crash, he continued to assure investors that a recovery was just around the corner. Once the Great Depression was in full force, he did warn that the ongoing drastic deflation was the cause of the disastrous cascading insolvencies then plaguing the American economy because deflation increased the real value of debts fixed in dollar terms. Fisher was so discredited by his 1929 pronouncements and by the failure of a firm he had started that few people took notice of his "debt-deflation" analysis of the Depression. People instead eagerly turned to the ideas of Keynes. Fisher's debt-deflation scenario has since seen a revival since the 1980s.
Constructive Income Taxation
Lawrence Lokken, the University of Miami School of Law professor of economics, credits
Fisher's 1942 book with the concept behind the Unlimited Savings Accumulation Tax, a reform introduced in the United States Senate in 1995 by Senator Pete Domenici (R-New Mexico), former Senator Sam Nunn (D-Georgia), and Senator Bob Kerrey (D-Nebraska). The concept was that unnecessary spending (which is hard to define in a law) can be taxed by taxing income minus all net investments and savings, and minus an allowance for essential purchases, thus making funds available for investment.
Social and health campaigns
In 1898, Fisher was diagnosed with tuberculosis, the same disease that had killed his father. He spent three years in sanatoria, finally making a full recovery. That experience sparked in him a vocation as a health campaigner. He was one of the founders of the Life Extension Institute, under whose auspices he co-authored the bestselling book How to Live: Rules for Healthful Living Based on Modern Science, published in 1915. He advocated regular exercise and the avoidance of red meat, tobacco, and alcohol. In 1924, Fisher wrote an anti-smoking article for the Reader's Digest, which argued that "tobacco lowers the whole tone of the body and decreases its vital power and resistance ... [it] acts like a narcotic poison, like opium and like alcohol, though usually in a less degree".
Fisher supported the legal prohibition of alcohol and wrote three booklets defending prohibition in the United States on grounds of public health and economic productivity. As a proponent of Eugenics he helped found the Race Betterment Foundation in 1906. He also defended eugenics, serving in the scientific advisory board of the Eugenics Record Office and as first president of the American Eugenics Society.
When his daughter Margaret was diagnosed with schizophrenia, Fisher had her treated at the New Jersey State Hospital at Trenton, whose director was the psychiatrist Henry Cotton. Cotton believed in a "focal sepsis" theory, according to which mental illness resulted from infectious material in the roots of teeth, bowel recesses, and other places in the body. Cotton also claimed that surgical removal of the infected tissue could alleviate the patient's mental disorder. At Trenton, Margaret Fisher had sections of her bowel and colon removed, which eventually resulted in her death. Irving Fisher nonetheless remained convinced of the validity of Cotton's treatment.
Selected publications
Fisher, Irving Norton, 1961. A Bibliography of the Writings of Irving Fisher (1961). Compiled by Fisher's son; contains 2425 entries.
Primary
1892. Mathematical Investigations in the Theory of Value and Prices. Scroll to chapter links.
1896. Appreciation and Interest. Link.
1906. The Nature of Capital and Income. Scroll to chapter links.
1907. The Rate of Interest. Extracts from Preface and Appendix to ch. VII.
1910, 1914. Introduction to Economic Science. Section links.
1911a, 1922, 2nd ed. The Purchasing Power of Money: Its Determination and Relation to Credit, Interest, and Crises. Scroll to chapter links from Library of Economics and Liberty (LE&L). Full text of 1920 edition online via FRASER
1911b, 1913. Elementary Principles of Economics. Scroll to chapter links.
1915. How to Live: Rules for Healthful Living Based on Modern Science (with Eugene Lyon Fisk). Link.
1918, "Is 'Utility' the Most Suitable Term for the Concept It is Used to Denote?" American Economic Review, pp. 335–37]. Reprint.
1921a. "Dollar Stabilization," Encyclopædia Britannica 12th ed.. XXX, pp. 852–853. Reprint page links from LE&L.
1921b, The Best Form of Index Number, American Statistical Association Quarterly. 17(133), pp. pp. 533–537.
1922. The Making of Index Numbers: A Study of Their Varieties, Tests, and Reliability. Scroll to chapter links,
1923, "The Business Cycle Largely a 'Dance of the Dollar'," Journal of the American Statistical Association, 18, pp. 1024–28. Link.
1926, "A Statistical Relation between Unemployment and Price Changes," International Labour Review, 13(6), p pp. 785–92. Reprinted as 1973, "I Discovered the Phillips Curve: A Statistical Relation between Unemployment and Price Changes'," Journal of Political Economy, 81(2, Part 1), p pp. 496–502.
1927, "A Statistical Method for Measuring 'Marginal Utility' and Testing the Justice of a Progressive Income Tax" in Economic Essays Contributed in Honor of John Bates Clark .
1928, The Money Illusion, New York: Adelphi Company. Scroll to chapter-preview links.
1930a. The Stock Market Crash and After.
1930b. The Theory of Interest. Chapter I. Chapter links, each numbered by paragraph via LE&L.
1932. Booms and Depressions: Some First Principles. full text online via FRASER.
1933b. Stamp Scrip. full text online
1935. 100% Money. full text online
1942. "Constructive Income Taxation: A Proposal for Reform." New York: Harper & Brothers.
1996. The Works of Irving Fisher. edited by William J. Barber et al. 14 volumes London : Pickering & Chatto.
See also
Chicago plan
Eugenics in the United States
Ham and Eggs Movement, California pension reform plan, 1938–40
Library of Economics and Liberty
Marginalism
Milton Friedman
2018 Swiss sovereign-money initiative
References
Further reading
Allen, Robert Loring (1993). Irving Fisher: A Biography
Dimand, Robert W. (2020). "J. Laurence Laughlin versus Irving Fisher on the quantity theory of money, 1894 to 1913." Oxford Economic Papers
Dimand, Robert W. (2003). "Irving Fisher on the International Transmission of Booms and Depressions through Monetary Standards." Journal of Money, Credit & Banking. Vol: 35#1 pp 49+. online edition
Dimand, Robert W. (1993). "The Dance of the Dollar: Irving Fisher's Monetary Theory of Economic Fluctuations," History of Economics Review 20:161–172.
Dimand, Robert W. (1994). "Irving Fisher's Debt-Deflation Theory of Great Depressions," Review of Social Economy 52:92–107
Dimand, Robert W., and Geanakoplos, John (2005). "Celebrating Irving Fisher: The Legacy of a Great Economist" American Journal of Economics & Sociology, Jan 2005, Vol. 64 Issue 1, pp. 3–18
(1958). The Economic Mind in American Civilization, vol. 3.
Fellner, William, ed. (1967). Ten Economic Studies in the Tradition of Irving Fisher
Fisher, Irving Norton (1956). My Father Irving Fisher.
Schumpeter, Joseph (1951). Ten Great Economists: 222–38.
Schumpeter, Joseph (1954). A History of Economic Analysis (1954)
Thaler, Richard (1999). "Irving Fisher: Behavioral Economist," American Economic Review.
Tobin, James (1987). "Fisher, Irving," The New Palgrave: A Dictionary of Economics, Vol. 2: 369–76. Reprinted in American Journal of Economics and Sociology, Jan, 2005, 17 pages.
Tobin, James (1985). "Neoclassical Theory in America: J. B. Clark and Fisher" American Economic Review (Dec 1985) vol 75#6 pp. 28–38 in JSTOR
External links
Archive for the History of Economic Thought at McMaster University
New School for Social Research website:
Irving Fisher, 1867–1947. Includes a photograph of the young Fisher. For a photograph of the older man, see Irving Fisher on the Portraits of Statisticians page.
Irving Fisher's Theory of Investment.
Irving Fisher Papers (MS 212). Manuscripts and Archives, Yale University Library.
Herbert Scarf, William C.Brainard, "How to Compute Equilibrium Prices in 1891". Cowles Foundation Discussion Paper 1272, August 2000 – for the description of Fisher's hydraulic apparatus.
Works by or about Irving Fisher on FRASER
American atheists
Economists from New York (state)
American statisticians
Neoclassical economists
1867 births
1947 deaths
American temperance activists
Activists from New York (state)
Tobacco researchers
American eugenicists
Presidents of the American Economic Association
Presidents of the American Statistical Association
Fellows of the Econometric Society
Presidents of the Econometric Society
Yale University alumni
People from Saugerties, New York
19th-century economists
20th-century American economists
Mathematicians from New York (state)
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[
"The theory of indispensable attributes (TIA) is a theory in the context of perceptual organisation which asks for the functional units and elementary features that are relevant for a perceptual system in the constitution of perceptual objects. Earlier versions of the theory emerged in the context of an application of research on vision to audition, and analogies between vision and audition were emphasised,\nwhereas in more recent writings the necessity of a modality-general theory of perceptual organisation and objecthood is stressed.\n\nThe subject of perceptual organisation, and with it TIA, constitute a prime example of how theories of Gestalt psychology have been taken up and kept alive in cognitive psychology.\n\nTIA has been drawn on in the context of music research, in the areas of music philosophy,\nand systematic music theory.\n\nPerceptual grouping \nSince the perception of objects implies a segregation of some parts of the environment (figure) from other parts of the environment (ground), a perceptual system will have to rely on certain features in the environment for the aggregation of what goes together. This aggregation is termed perceptual grouping (PG), and the aim of TIA is the identification of conditions for the occurrence of PG.\n\nPG is considered as a transformation happening between some input and some output. The input is considered a set of discrete elements which are distributed over some medium . Media are also termed indispensable attributes (IA). The output PP is termed a phenomenal partition of into subsets, or blocks, E1, E2, ..., Em.\n\nThe grouping into some block Ei occurs in reference to at least one feature Fi from a set of features . Kubovy and Van Valkenburg (2003) recommend the following expression for the description of a PP: \"... the elements of spread over , are grouped by .\"\n\nSee also \n Auditory scene analysis\n Neural processing for individual categories of objects\n Principles of grouping\n Structural information theory\n\nReferences \n\nCognitive science\nGrouping\nPerception",
"\"Anarchy Is What States Make of It: The Social Construction of Power Politics\" is a journal article by Alexander Wendt published in International Organization in 1992 that outlines a constructivist approach to international relations theory.\n\nWendt argues that anarchy is not inherent in the international system in the way in which other schools of international relations theory envision it, but rather it is a construct of the nation-states in the system. At the core of constructivist thought is the idea that many core aspects of international relations are socially constructed (they are given their form by ongoing processes of social practice and interaction), rather than inherent, contrary to the assumptions of neorealism and neoliberalism. According to Wendt, the two basic tenets of constructivism are:\n The structures of human association are determined primarily by shared ideas rather than material forces.\n The identities and interests of purposive actors are constructed by these shared ideas rather than given by nature.\n\nThe constructivist sentiment is summed up in the following extract from the article: \"I argue that self-help and power politics do not follow either logically or causally from anarchy and that if today we find ourselves in a self-help world, this is due to process, not structure. There is no 'logic' of anarchy apart from the practices that create and instantiate one structure of identities and interests rather than another; structure has no existence or causal powers apart from process. Self-help and power politics are institutions, not essential features, of anarchy. Anarchy is what states make of it\".\n\nSee also\n\nPower politics\nSocial Theory of International Politics\n\nReferences\n\nExternal links\n\"Anarchy is What States Make of It\" at JSTOR\n\nInternational relations theory\nConstructivism\n1992 documents\nSocial constructionism"
] |
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"Irving Fisher",
"Utility theory",
"When did he come up with utility theory?",
"James Tobin argued that the intellectual breakthroughs that marked the neoclassical revolution in economics occurred in Europe around 1870.",
"What are the features of this theory?",
"In reviewing the history of utility theory, economist George Stigler wrote that Fisher's doctoral thesis had been \"brilliant\""
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C_9a075f891b624597bc36f3a999fcbddd_0
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Did he get more reviews?
| 3 |
Did Irving Fisher get more reviews for utility theory?
|
Irving Fisher
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James Tobin argued that the intellectual breakthroughs that marked the neoclassical revolution in economics occurred in Europe around 1870. The next two decades witnessed lively debates, which led to the new theory being more or less incorporated into the classical tradition that preceded it. In the 1890s, according to Joseph A. Schumpeter there emerged A large expanse of common ground and ... a feeling of repose, both of which created, in the superficial observer, an impression of finality - the finality of a Greek temple that spreads its perfect lines against a cloudless sky. Of course, Tobin argues, the temple was by no means complete. Its building and decoration continue to this day, even while its faithful throngs worship within. American economists were not present at the creation. To a considerable extent they built their own edifice independently, designing some new architecture in the process. They participated actively in the international controversies and syntheses of the period 1870-1914. At least two Americans were prominent builders of the "temple," John Bates Clark and Irving Fisher. They and others brought neoclassical theory into American journals, classrooms, and textbooks, and its analytical tools into the kits of researchers and practitioners. Eventually, for better or worse, their paradigm would dominate economic science in this country. In reviewing the history of utility theory, economist George Stigler wrote that Fisher's doctoral thesis had been "brilliant" and stressed that it contained "the first careful examination of the measurability of the utility function and its relevance to demand theory." While his published work exhibited an unusual degree of mathematical sophistication for an economist of his day, Fisher always sought to bring his analysis to life and to present his theories as lucidly as possible. For instance, to complement the arguments in his doctoral thesis, he built an elaborate hydraulic machine with pumps and levers, allowing him to demonstrate visually how the equilibrium prices in the market adjusted in response to changes in supply or demand. CANNOTANSWER
|
" While his published work exhibited an unusual degree of mathematical sophistication for an economist of his day,
|
Irving Fisher (February 27, 1867 – April 29, 1947) was an American economist, statistician, inventor, eugenicist and progressive social campaigner. He was one of the earliest American neoclassical economists, though his later work on debt deflation has been embraced by the post-Keynesian school. Joseph Schumpeter described him as "the greatest economist the United States has ever produced", an assessment later repeated by James Tobin and Milton Friedman.
Fisher made important contributions to utility theory and general equilibrium. He was also a pioneer in the rigorous study of intertemporal choice in markets, which led him to develop a theory of capital and interest rates. His research on the quantity theory of money inaugurated the school of macroeconomic thought known as "monetarism". Fisher was also a pioneer of econometrics, including the development of index numbers. Some concepts named after him include the Fisher equation, the Fisher hypothesis, the international Fisher effect, the Fisher separation theorem and Fisher market.
Fisher was perhaps the first celebrity economist, but his reputation during his lifetime was irreparably harmed by his public statement, just nine days before the Wall Street Crash of 1929, that the stock market had reached "a permanently high plateau". His subsequent theory of debt deflation as an explanation of the Great Depression, as well as his advocacy of full-reserve banking and alternative currencies, were largely ignored in favor of the work of John Maynard Keynes. Fisher's reputation has since recovered in academic economics, particularly after his theoretical models were rediscovered in the late 1960s to the 1970s, a period of increasing reliance on mathematical models within the field. Interest in him has also grown in the public due to an increased interest in debt deflation after the Great Recession.
Fisher was one of the foremost proponents of the full-reserve banking, which he advocated as one of the authors of A Program for Monetary Reform where the general proposal is outlined.
Biography
Fisher was born in Saugerties, New York. His father was a teacher and a Congregational minister, who raised his son to believe he must be a useful member of society. Despite being raised in religious family, he later on became an atheist. As a child, he had remarkable mathematical ability and a flair for invention. A week after he was admitted to Yale College his father died, at age 53. Irving then supported his mother, brother, and himself, mainly by tutoring. He graduated first in his class with a B.A degree in 1888, having also been elected as a member of the Skull and Bones society.
In 1891, Fisher received the first Ph.D. in economics granted by Yale. His faculty advisors were the theoretical physicist Willard Gibbs and the sociologist William Graham Sumner. As a student, Fisher had shown particular talent and inclination for mathematics, but he found that economics offered greater scope for his ambition and social concerns. His thesis, published by Yale in 1892 as Mathematical Investigations in the Theory of Value and Prices, was a rigorous development of the theory of general equilibrium. When he began writing the thesis, Fisher had not been aware that Léon Walras and his continental European disciples had already covered similar ground. Nonetheless, Fisher's work was a very significant contribution and was immediately recognized and praised as first-rate by such European masters as Francis Edgeworth.
After graduating from Yale, Fisher studied in Berlin and Paris. From 1890 onward, he remained at Yale, first as a tutor, then after 1898 as a professor of political economy, and after 1935 as professor emeritus. He edited the Yale Review from 1896 to 1910 and was active in many learned societies, institutes, and welfare organizations. He was president of the American Economic Association in 1918. The American Mathematical Society selected him as its Gibbs Lecturer for 1929. A leading early proponent of econometrics, in 1930 he founded, with Ragnar Frisch and Charles F. Roos the Econometric Society, of which he was the first president.
Fisher was a prolific writer, producing journalism as well as technical books and articles, and addressing various social issues surrounding the First World War, the prosperous 1920s and the depressed 1930s. He made several practical inventions, the most notable of which was an "index visible filing system" which he patented in 1913 and sold to Kardex Rand (later Remington Rand) in 1925. This, and his subsequent stock investments, made him a wealthy man until his personal finances were badly hit by the Crash of 1929.
Fisher was also an active social and health campaigner, as well as an advocate of vegetarianism, prohibition, and eugenics. In 1893, he married Margaret Hazard, a granddaughter of Rhode Island industrialist and social reformer Rowland G. Hazard. He died of inoperable colon cancer in New York City in 1947, at the age of 80.
Economic theories
Utility theory
James Tobin, writing on the contributions of John Bates Clark and Irving Fisher to neoclassical theory in America argues that American economists contributed in their own way to the preparation of a common ground after the neoclassical revolution. In particular Clark and Irving Fisher “brought neoclassical theory into American journals, classrooms, and textbooks, and its analytical tools into the kits of researchers and practitioners.” Already in his doctoral thesis, “Fisher expounds thoroughly the mathematics of utility functions and their maximization, and he is careful to allow for corner solutions.” Already then, Fisher “states clearly that neither interpersonally comparable utility nor cardinal utility for each individual is necessary to the determination of equilibrium."
In reviewing the history of utility theory, economist George Stigler wrote that Fisher's doctoral thesis had been "brilliant" and stressed that it contained "the first careful examination of the measurability of the utility function and its relevance to demand theory." While his published work exhibited an unusual degree of mathematical sophistication for an economist of his day, Fisher always sought to bring his analysis to life and to present his theories as lucidly as possible. For instance, to complement the arguments in his doctoral thesis, he built an elaborate hydraulic machine with pumps and levers, allowing him to demonstrate visually how the equilibrium prices in the market adjusted in response to changes in supply or demand.
Interest and capital
Fisher is probably best remembered today in neoclassical economics for his theory of capital, investment, and interest rates, first exposited in his The Nature of Capital and Income (1906) and elaborated on in The Rate of Interest (1907). His 1930 treatise, The Theory of Interest, summed up a lifetime's research into capital, capital budgeting, credit markets, and the factors (including inflation) that determine interest rates.
Fisher saw that subjective economic value is not only a function of the amount of goods and services owned or exchanged, but also of the moment in time when they are purchased with money. A good available now has a different value than the same good available at a later date; value has a time as well as a quantity dimension. The relative price of goods available at a future date, in terms of goods sacrificed now, is measured by the interest rate. Fisher made free use of the standard diagrams used to teach undergraduate economics, but labeled the axes "consumption now" and "consumption next period" (instead of the usual schematic alternatives of "apples" and "oranges"). The resulting theory, one of considerable power and insight, was presented in detail in The Theory of Interest.
This model, later generalized to the case of K goods and N periods (including the case of infinitely many periods) has become a standard theory of capital and interest, and is described in Gravelle and Rees, and Aliprantis, Brown, and Burkinshaw. This theoretical advance is explained in Hirshleifer.
Fisher saw that the economic policy of what he did for his theory for was something that was making an impact on society as a whole. He was seen as the “greatest American economist of his time”, taking the skills of what he learned in mathematics and decided to incorporate it into economics for the greater good of the field of study. Once he brought out his Quantity Theory of Money, it started to take economic models and bring more of a life to them in the aspects of the mathematics included with it. With addressing models have the different axes labeled, there has been so much that he has contributed to the economic world. One of the strongest points that Fisher brings out in discussing interest rates was the power of impatience and time. When examining how a certain item can be valued during a point of time, then seeing how much it is in a different time, justified by interest, speaks out volumes of what is happening in the world. The impatience of humans with their nature of not wanting to wait for certain items speaks out to what is going in, with relations to interest rates. When an individual begins to wait, there is much that happens in relations with the interest rates. Overall, it becomes more of a monetary value that humans end up going for with not waiting for purchase something in the different period instead of the current. At the end, Fisher has left a huge impact the world on economics.
Monetary economics
Fisher's research into the basic theory of prices and interest rates did not touch directly on the great social issues of the day. On the other hand, his monetary economics did and this grew to be the main focus of Fisher's mature work.
It was Fisher who (following the pioneering work of Simon Newcomb) formulated the quantity theory of money in terms of the "equation of exchange:" Let M be the total stock of money, P the price level, T the amount of transactions carried out using money, and V the velocity of circulation of money, so that
Later economists replaced T by the real output Y (or Q), usually quantified by the real Gross domestic product (GDP).
Fisher's Appreciation and Interest was an abstract analysis of the behavior of interest rates when the price level is changing. It emphasized the distinction between real and nominal interest rates:
where is the real interest rate, is the nominal interest rate, and the inflation is a measure of the increase in the price level. When inflation is sufficiently low, the real interest rate can be approximated as the nominal interest rate minus the expected inflation rate. The resulting equation is known as the Fisher equation in his honor.
Fisher believed that investors and savers – people in general – were afflicted in varying degrees by "money illusion"; they could not see past the money to the goods the money could buy. In an ideal world, changes in the price level would have no effect on production or employment. In the actual world with money illusion, inflation (and deflation) did serious harm. For more than forty years, Fisher elaborated his vision of the damaging "dance of the dollar" and devised various schemes to "stabilize" money, i.e. to stabilize the price level. He was one of the first to subject macroeconomic data, including the money stock, interest rates, and the price level, to statistical analyses and tests. In the 1920s, he introduced the technique later called distributed lags. In 1973, the Journal of Political Economy posthumously reprinted his 1926 paper on the statistical relation between unemployment and inflation, retitling it as "I discovered the Phillips curve". Index numbers played an important role in his monetary theory, and his book The Making of Index Numbers has remained influential down to the present day.
Fisher's main intellectual rival was the Swedish economist Knut Wicksell. Fisher espoused a more succinct explanation of the quantity theory of money, resting it almost exclusively on long run prices. Wicksell's theory was considerably more complicated, beginning with interest rates in a system of changes in the real economy. Although both economists concluded from their theories that at the heart of the business cycle (and economic crisis) was government monetary policy, their disagreement would not be solved in their lifetimes, and indeed, it was inherited by the policy debates between the Keynesians and monetarists beginning a half-century later.
Debt-deflation
Following the stock market crash of 1929, and in light of the ensuing Great Depression, Fisher developed a theory of economic crises called debt-deflation, which attributed the crises to the bursting of a credit bubble. Initially, during the upswing over-confident economic agents are lured by the prospect of high profits to increase their debt in order to leverage their gains. According to Fisher, once the credit bubble bursts, this unleashes a series of effects that have serious negative impact on the real economy:
Debt liquidation and distress selling.
Contraction of the money supply as bank loans are paid off.
A fall in the level of asset prices.
A still greater fall in the net worth of businesses, precipitating bankruptcies.
A fall in profits.
A reduction in output, in trade and in employment.
Pessimism and loss of confidence.
Hoarding of money.
A fall in nominal interest rates and a rise in deflation-adjusted interest rates.
Crucially, as debtors try to liquidate or pay off their nominal debt, the fall of prices caused by this defeats the very attempt to reduce the real burden of debt. Thus, while repayment reduces the amount of money owed, this does not happen fast enough since the real value of the dollar now rises ('swelling of the dollar').
This theory was largely ignored in favor of Keynesian economics, in part because of the damage to Fisher's reputation caused by his public optimism about the stock market, just prior to the crash. Debt-deflation has experienced a revival of mainstream interest since the 1980s, and particularly with the Late-2000s recession. Steve Keen predicted the 2008 recession by using Hyman Minsky's further development of Fisher's work on debt-deflation. Debt-deflation is now the major theory with which Fisher's name is associated.
Stock market crash of 1929
The stock market crash of 1929 and the subsequent Great Depression cost Fisher much of his personal wealth and academic reputation. He famously predicted, nine days before the crash, that stock prices had "reached what looks like a permanently high plateau." Irving Fisher stated on October 21 that the market was "only shaking out of the lunatic fringe" and went on to explain why he felt the prices still had not caught up with their real value and should go much higher. On Wednesday, October 23, he announced in a banker's meeting "security values in most instances were not inflated." For months after the Crash, he continued to assure investors that a recovery was just around the corner. Once the Great Depression was in full force, he did warn that the ongoing drastic deflation was the cause of the disastrous cascading insolvencies then plaguing the American economy because deflation increased the real value of debts fixed in dollar terms. Fisher was so discredited by his 1929 pronouncements and by the failure of a firm he had started that few people took notice of his "debt-deflation" analysis of the Depression. People instead eagerly turned to the ideas of Keynes. Fisher's debt-deflation scenario has since seen a revival since the 1980s.
Constructive Income Taxation
Lawrence Lokken, the University of Miami School of Law professor of economics, credits
Fisher's 1942 book with the concept behind the Unlimited Savings Accumulation Tax, a reform introduced in the United States Senate in 1995 by Senator Pete Domenici (R-New Mexico), former Senator Sam Nunn (D-Georgia), and Senator Bob Kerrey (D-Nebraska). The concept was that unnecessary spending (which is hard to define in a law) can be taxed by taxing income minus all net investments and savings, and minus an allowance for essential purchases, thus making funds available for investment.
Social and health campaigns
In 1898, Fisher was diagnosed with tuberculosis, the same disease that had killed his father. He spent three years in sanatoria, finally making a full recovery. That experience sparked in him a vocation as a health campaigner. He was one of the founders of the Life Extension Institute, under whose auspices he co-authored the bestselling book How to Live: Rules for Healthful Living Based on Modern Science, published in 1915. He advocated regular exercise and the avoidance of red meat, tobacco, and alcohol. In 1924, Fisher wrote an anti-smoking article for the Reader's Digest, which argued that "tobacco lowers the whole tone of the body and decreases its vital power and resistance ... [it] acts like a narcotic poison, like opium and like alcohol, though usually in a less degree".
Fisher supported the legal prohibition of alcohol and wrote three booklets defending prohibition in the United States on grounds of public health and economic productivity. As a proponent of Eugenics he helped found the Race Betterment Foundation in 1906. He also defended eugenics, serving in the scientific advisory board of the Eugenics Record Office and as first president of the American Eugenics Society.
When his daughter Margaret was diagnosed with schizophrenia, Fisher had her treated at the New Jersey State Hospital at Trenton, whose director was the psychiatrist Henry Cotton. Cotton believed in a "focal sepsis" theory, according to which mental illness resulted from infectious material in the roots of teeth, bowel recesses, and other places in the body. Cotton also claimed that surgical removal of the infected tissue could alleviate the patient's mental disorder. At Trenton, Margaret Fisher had sections of her bowel and colon removed, which eventually resulted in her death. Irving Fisher nonetheless remained convinced of the validity of Cotton's treatment.
Selected publications
Fisher, Irving Norton, 1961. A Bibliography of the Writings of Irving Fisher (1961). Compiled by Fisher's son; contains 2425 entries.
Primary
1892. Mathematical Investigations in the Theory of Value and Prices. Scroll to chapter links.
1896. Appreciation and Interest. Link.
1906. The Nature of Capital and Income. Scroll to chapter links.
1907. The Rate of Interest. Extracts from Preface and Appendix to ch. VII.
1910, 1914. Introduction to Economic Science. Section links.
1911a, 1922, 2nd ed. The Purchasing Power of Money: Its Determination and Relation to Credit, Interest, and Crises. Scroll to chapter links from Library of Economics and Liberty (LE&L). Full text of 1920 edition online via FRASER
1911b, 1913. Elementary Principles of Economics. Scroll to chapter links.
1915. How to Live: Rules for Healthful Living Based on Modern Science (with Eugene Lyon Fisk). Link.
1918, "Is 'Utility' the Most Suitable Term for the Concept It is Used to Denote?" American Economic Review, pp. 335–37]. Reprint.
1921a. "Dollar Stabilization," Encyclopædia Britannica 12th ed.. XXX, pp. 852–853. Reprint page links from LE&L.
1921b, The Best Form of Index Number, American Statistical Association Quarterly. 17(133), pp. pp. 533–537.
1922. The Making of Index Numbers: A Study of Their Varieties, Tests, and Reliability. Scroll to chapter links,
1923, "The Business Cycle Largely a 'Dance of the Dollar'," Journal of the American Statistical Association, 18, pp. 1024–28. Link.
1926, "A Statistical Relation between Unemployment and Price Changes," International Labour Review, 13(6), p pp. 785–92. Reprinted as 1973, "I Discovered the Phillips Curve: A Statistical Relation between Unemployment and Price Changes'," Journal of Political Economy, 81(2, Part 1), p pp. 496–502.
1927, "A Statistical Method for Measuring 'Marginal Utility' and Testing the Justice of a Progressive Income Tax" in Economic Essays Contributed in Honor of John Bates Clark .
1928, The Money Illusion, New York: Adelphi Company. Scroll to chapter-preview links.
1930a. The Stock Market Crash and After.
1930b. The Theory of Interest. Chapter I. Chapter links, each numbered by paragraph via LE&L.
1932. Booms and Depressions: Some First Principles. full text online via FRASER.
1933b. Stamp Scrip. full text online
1935. 100% Money. full text online
1942. "Constructive Income Taxation: A Proposal for Reform." New York: Harper & Brothers.
1996. The Works of Irving Fisher. edited by William J. Barber et al. 14 volumes London : Pickering & Chatto.
See also
Chicago plan
Eugenics in the United States
Ham and Eggs Movement, California pension reform plan, 1938–40
Library of Economics and Liberty
Marginalism
Milton Friedman
2018 Swiss sovereign-money initiative
References
Further reading
Allen, Robert Loring (1993). Irving Fisher: A Biography
Dimand, Robert W. (2020). "J. Laurence Laughlin versus Irving Fisher on the quantity theory of money, 1894 to 1913." Oxford Economic Papers
Dimand, Robert W. (2003). "Irving Fisher on the International Transmission of Booms and Depressions through Monetary Standards." Journal of Money, Credit & Banking. Vol: 35#1 pp 49+. online edition
Dimand, Robert W. (1993). "The Dance of the Dollar: Irving Fisher's Monetary Theory of Economic Fluctuations," History of Economics Review 20:161–172.
Dimand, Robert W. (1994). "Irving Fisher's Debt-Deflation Theory of Great Depressions," Review of Social Economy 52:92–107
Dimand, Robert W., and Geanakoplos, John (2005). "Celebrating Irving Fisher: The Legacy of a Great Economist" American Journal of Economics & Sociology, Jan 2005, Vol. 64 Issue 1, pp. 3–18
(1958). The Economic Mind in American Civilization, vol. 3.
Fellner, William, ed. (1967). Ten Economic Studies in the Tradition of Irving Fisher
Fisher, Irving Norton (1956). My Father Irving Fisher.
Schumpeter, Joseph (1951). Ten Great Economists: 222–38.
Schumpeter, Joseph (1954). A History of Economic Analysis (1954)
Thaler, Richard (1999). "Irving Fisher: Behavioral Economist," American Economic Review.
Tobin, James (1987). "Fisher, Irving," The New Palgrave: A Dictionary of Economics, Vol. 2: 369–76. Reprinted in American Journal of Economics and Sociology, Jan, 2005, 17 pages.
Tobin, James (1985). "Neoclassical Theory in America: J. B. Clark and Fisher" American Economic Review (Dec 1985) vol 75#6 pp. 28–38 in JSTOR
External links
Archive for the History of Economic Thought at McMaster University
New School for Social Research website:
Irving Fisher, 1867–1947. Includes a photograph of the young Fisher. For a photograph of the older man, see Irving Fisher on the Portraits of Statisticians page.
Irving Fisher's Theory of Investment.
Irving Fisher Papers (MS 212). Manuscripts and Archives, Yale University Library.
Herbert Scarf, William C.Brainard, "How to Compute Equilibrium Prices in 1891". Cowles Foundation Discussion Paper 1272, August 2000 – for the description of Fisher's hydraulic apparatus.
Works by or about Irving Fisher on FRASER
American atheists
Economists from New York (state)
American statisticians
Neoclassical economists
1867 births
1947 deaths
American temperance activists
Activists from New York (state)
Tobacco researchers
American eugenicists
Presidents of the American Economic Association
Presidents of the American Statistical Association
Fellows of the Econometric Society
Presidents of the Econometric Society
Yale University alumni
People from Saugerties, New York
19th-century economists
20th-century American economists
Mathematicians from New York (state)
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"Nightride is the first digital album, second studio album, and sixth overall project released by American singer Tinashe. It was released on November 4, 2016, by RCA Records. Its first single, \"Company\" was released on September 16, 2016. The album also includes the promotional singles \"Ride of Your Life\" and \"Party Favors\". Unlike the single version of \"Party Favors\", the album version does not feature rapper Young Thug. Tinashe recorded the project while recording her third studio album Joyride. The album peaked at number 89 on the US Billboard 200.\n\nTinashe confirmed in 2019 that she considers Nightride her second studio album, however her former label, RCA Records, did not and that was the reason the album did not get promoted, did not get a proper lead single and she could not tour for the album. She said multiple times that she and her label had creative differences, which led to them not releasing it as a proper album as it was not the kind of pop music they wanted from her.\n\nCritical reception\n\nNightride received generally favorable reviews from music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream publications, the album received an average score of 75, based on 5 reviews. Randall Roberts of the Los Angeles Times commented that the album \"mixes themes of both cruising and loving, and does so through tracks produced by notables including the-Dream, Boi 1da and Dev Hynes\". Rebecca Haithcoat of the Pitchfork stated \"Nightride sounds fascinating and, while polished, less sleek and cold than the title suggests. It has more of an ominous, broken-down carnival vibe\" and that \"Tinashe has long preferred shadows and slinkiness to bright poppiness, and [Nightride] is strictly after-hours music. [...] the album is infinitely interesting, possibly more so than the artist singing it. But then again, you shouldn’t count out anyone releasing an album like Nightride.\" Kitty Empire of The Observer gave a more mixed but still positive review; describing the tracks from Nightride as a series of 'hazy, gauzy tracks'.\n\nYear-end lists\n\nTrack listing\nCredits adapted from Tidal.\n\nCharts\n\nRelease history\n\nReferences\n\n2016 mixtape albums\nTinashe albums\nRCA Records albums\nAlbums produced by The-Dream\nAlbums produced by Metro Boomin\nAlbums produced by Illangelo\nAlbums produced by Vinylz\nAlbums produced by Boi-1da\nAlbums produced by Dev Hynes",
"Get Rich Quick is a 1996 Ned Kelly Award-winning novel by the Australian author Peter Doyle.\n\nAwards\nNed Kelly Awards for Crime Writing, Best First Novel, 1997: joint winner\n\nReviews\n \"Australian Crime Fiction database\"\n\nReferences\n\"GET RICH QUICK (Book).\" Kirkus Reviews 72.14 (15 July 2004): 661–662.\nLunn, Bob, and Rex E. Klett.. \"Get Rich Quick (Book).\" Library Journal 129.16 (Oct. 2004): 65-65.\n\nAustralian crime novels\n1996 Australian novels\nNed Kelly Award-winning works"
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[
"Irving Fisher",
"Utility theory",
"When did he come up with utility theory?",
"James Tobin argued that the intellectual breakthroughs that marked the neoclassical revolution in economics occurred in Europe around 1870.",
"What are the features of this theory?",
"In reviewing the history of utility theory, economist George Stigler wrote that Fisher's doctoral thesis had been \"brilliant\"",
"Did he get more reviews?",
"\" While his published work exhibited an unusual degree of mathematical sophistication for an economist of his day,"
] |
C_9a075f891b624597bc36f3a999fcbddd_0
|
Where was he when he came up with the theory?
| 4 |
Where was Irving Fisher when he came up with utility theory?
|
Irving Fisher
|
James Tobin argued that the intellectual breakthroughs that marked the neoclassical revolution in economics occurred in Europe around 1870. The next two decades witnessed lively debates, which led to the new theory being more or less incorporated into the classical tradition that preceded it. In the 1890s, according to Joseph A. Schumpeter there emerged A large expanse of common ground and ... a feeling of repose, both of which created, in the superficial observer, an impression of finality - the finality of a Greek temple that spreads its perfect lines against a cloudless sky. Of course, Tobin argues, the temple was by no means complete. Its building and decoration continue to this day, even while its faithful throngs worship within. American economists were not present at the creation. To a considerable extent they built their own edifice independently, designing some new architecture in the process. They participated actively in the international controversies and syntheses of the period 1870-1914. At least two Americans were prominent builders of the "temple," John Bates Clark and Irving Fisher. They and others brought neoclassical theory into American journals, classrooms, and textbooks, and its analytical tools into the kits of researchers and practitioners. Eventually, for better or worse, their paradigm would dominate economic science in this country. In reviewing the history of utility theory, economist George Stigler wrote that Fisher's doctoral thesis had been "brilliant" and stressed that it contained "the first careful examination of the measurability of the utility function and its relevance to demand theory." While his published work exhibited an unusual degree of mathematical sophistication for an economist of his day, Fisher always sought to bring his analysis to life and to present his theories as lucidly as possible. For instance, to complement the arguments in his doctoral thesis, he built an elaborate hydraulic machine with pumps and levers, allowing him to demonstrate visually how the equilibrium prices in the market adjusted in response to changes in supply or demand. CANNOTANSWER
|
CANNOTANSWER
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Irving Fisher (February 27, 1867 – April 29, 1947) was an American economist, statistician, inventor, eugenicist and progressive social campaigner. He was one of the earliest American neoclassical economists, though his later work on debt deflation has been embraced by the post-Keynesian school. Joseph Schumpeter described him as "the greatest economist the United States has ever produced", an assessment later repeated by James Tobin and Milton Friedman.
Fisher made important contributions to utility theory and general equilibrium. He was also a pioneer in the rigorous study of intertemporal choice in markets, which led him to develop a theory of capital and interest rates. His research on the quantity theory of money inaugurated the school of macroeconomic thought known as "monetarism". Fisher was also a pioneer of econometrics, including the development of index numbers. Some concepts named after him include the Fisher equation, the Fisher hypothesis, the international Fisher effect, the Fisher separation theorem and Fisher market.
Fisher was perhaps the first celebrity economist, but his reputation during his lifetime was irreparably harmed by his public statement, just nine days before the Wall Street Crash of 1929, that the stock market had reached "a permanently high plateau". His subsequent theory of debt deflation as an explanation of the Great Depression, as well as his advocacy of full-reserve banking and alternative currencies, were largely ignored in favor of the work of John Maynard Keynes. Fisher's reputation has since recovered in academic economics, particularly after his theoretical models were rediscovered in the late 1960s to the 1970s, a period of increasing reliance on mathematical models within the field. Interest in him has also grown in the public due to an increased interest in debt deflation after the Great Recession.
Fisher was one of the foremost proponents of the full-reserve banking, which he advocated as one of the authors of A Program for Monetary Reform where the general proposal is outlined.
Biography
Fisher was born in Saugerties, New York. His father was a teacher and a Congregational minister, who raised his son to believe he must be a useful member of society. Despite being raised in religious family, he later on became an atheist. As a child, he had remarkable mathematical ability and a flair for invention. A week after he was admitted to Yale College his father died, at age 53. Irving then supported his mother, brother, and himself, mainly by tutoring. He graduated first in his class with a B.A degree in 1888, having also been elected as a member of the Skull and Bones society.
In 1891, Fisher received the first Ph.D. in economics granted by Yale. His faculty advisors were the theoretical physicist Willard Gibbs and the sociologist William Graham Sumner. As a student, Fisher had shown particular talent and inclination for mathematics, but he found that economics offered greater scope for his ambition and social concerns. His thesis, published by Yale in 1892 as Mathematical Investigations in the Theory of Value and Prices, was a rigorous development of the theory of general equilibrium. When he began writing the thesis, Fisher had not been aware that Léon Walras and his continental European disciples had already covered similar ground. Nonetheless, Fisher's work was a very significant contribution and was immediately recognized and praised as first-rate by such European masters as Francis Edgeworth.
After graduating from Yale, Fisher studied in Berlin and Paris. From 1890 onward, he remained at Yale, first as a tutor, then after 1898 as a professor of political economy, and after 1935 as professor emeritus. He edited the Yale Review from 1896 to 1910 and was active in many learned societies, institutes, and welfare organizations. He was president of the American Economic Association in 1918. The American Mathematical Society selected him as its Gibbs Lecturer for 1929. A leading early proponent of econometrics, in 1930 he founded, with Ragnar Frisch and Charles F. Roos the Econometric Society, of which he was the first president.
Fisher was a prolific writer, producing journalism as well as technical books and articles, and addressing various social issues surrounding the First World War, the prosperous 1920s and the depressed 1930s. He made several practical inventions, the most notable of which was an "index visible filing system" which he patented in 1913 and sold to Kardex Rand (later Remington Rand) in 1925. This, and his subsequent stock investments, made him a wealthy man until his personal finances were badly hit by the Crash of 1929.
Fisher was also an active social and health campaigner, as well as an advocate of vegetarianism, prohibition, and eugenics. In 1893, he married Margaret Hazard, a granddaughter of Rhode Island industrialist and social reformer Rowland G. Hazard. He died of inoperable colon cancer in New York City in 1947, at the age of 80.
Economic theories
Utility theory
James Tobin, writing on the contributions of John Bates Clark and Irving Fisher to neoclassical theory in America argues that American economists contributed in their own way to the preparation of a common ground after the neoclassical revolution. In particular Clark and Irving Fisher “brought neoclassical theory into American journals, classrooms, and textbooks, and its analytical tools into the kits of researchers and practitioners.” Already in his doctoral thesis, “Fisher expounds thoroughly the mathematics of utility functions and their maximization, and he is careful to allow for corner solutions.” Already then, Fisher “states clearly that neither interpersonally comparable utility nor cardinal utility for each individual is necessary to the determination of equilibrium."
In reviewing the history of utility theory, economist George Stigler wrote that Fisher's doctoral thesis had been "brilliant" and stressed that it contained "the first careful examination of the measurability of the utility function and its relevance to demand theory." While his published work exhibited an unusual degree of mathematical sophistication for an economist of his day, Fisher always sought to bring his analysis to life and to present his theories as lucidly as possible. For instance, to complement the arguments in his doctoral thesis, he built an elaborate hydraulic machine with pumps and levers, allowing him to demonstrate visually how the equilibrium prices in the market adjusted in response to changes in supply or demand.
Interest and capital
Fisher is probably best remembered today in neoclassical economics for his theory of capital, investment, and interest rates, first exposited in his The Nature of Capital and Income (1906) and elaborated on in The Rate of Interest (1907). His 1930 treatise, The Theory of Interest, summed up a lifetime's research into capital, capital budgeting, credit markets, and the factors (including inflation) that determine interest rates.
Fisher saw that subjective economic value is not only a function of the amount of goods and services owned or exchanged, but also of the moment in time when they are purchased with money. A good available now has a different value than the same good available at a later date; value has a time as well as a quantity dimension. The relative price of goods available at a future date, in terms of goods sacrificed now, is measured by the interest rate. Fisher made free use of the standard diagrams used to teach undergraduate economics, but labeled the axes "consumption now" and "consumption next period" (instead of the usual schematic alternatives of "apples" and "oranges"). The resulting theory, one of considerable power and insight, was presented in detail in The Theory of Interest.
This model, later generalized to the case of K goods and N periods (including the case of infinitely many periods) has become a standard theory of capital and interest, and is described in Gravelle and Rees, and Aliprantis, Brown, and Burkinshaw. This theoretical advance is explained in Hirshleifer.
Fisher saw that the economic policy of what he did for his theory for was something that was making an impact on society as a whole. He was seen as the “greatest American economist of his time”, taking the skills of what he learned in mathematics and decided to incorporate it into economics for the greater good of the field of study. Once he brought out his Quantity Theory of Money, it started to take economic models and bring more of a life to them in the aspects of the mathematics included with it. With addressing models have the different axes labeled, there has been so much that he has contributed to the economic world. One of the strongest points that Fisher brings out in discussing interest rates was the power of impatience and time. When examining how a certain item can be valued during a point of time, then seeing how much it is in a different time, justified by interest, speaks out volumes of what is happening in the world. The impatience of humans with their nature of not wanting to wait for certain items speaks out to what is going in, with relations to interest rates. When an individual begins to wait, there is much that happens in relations with the interest rates. Overall, it becomes more of a monetary value that humans end up going for with not waiting for purchase something in the different period instead of the current. At the end, Fisher has left a huge impact the world on economics.
Monetary economics
Fisher's research into the basic theory of prices and interest rates did not touch directly on the great social issues of the day. On the other hand, his monetary economics did and this grew to be the main focus of Fisher's mature work.
It was Fisher who (following the pioneering work of Simon Newcomb) formulated the quantity theory of money in terms of the "equation of exchange:" Let M be the total stock of money, P the price level, T the amount of transactions carried out using money, and V the velocity of circulation of money, so that
Later economists replaced T by the real output Y (or Q), usually quantified by the real Gross domestic product (GDP).
Fisher's Appreciation and Interest was an abstract analysis of the behavior of interest rates when the price level is changing. It emphasized the distinction between real and nominal interest rates:
where is the real interest rate, is the nominal interest rate, and the inflation is a measure of the increase in the price level. When inflation is sufficiently low, the real interest rate can be approximated as the nominal interest rate minus the expected inflation rate. The resulting equation is known as the Fisher equation in his honor.
Fisher believed that investors and savers – people in general – were afflicted in varying degrees by "money illusion"; they could not see past the money to the goods the money could buy. In an ideal world, changes in the price level would have no effect on production or employment. In the actual world with money illusion, inflation (and deflation) did serious harm. For more than forty years, Fisher elaborated his vision of the damaging "dance of the dollar" and devised various schemes to "stabilize" money, i.e. to stabilize the price level. He was one of the first to subject macroeconomic data, including the money stock, interest rates, and the price level, to statistical analyses and tests. In the 1920s, he introduced the technique later called distributed lags. In 1973, the Journal of Political Economy posthumously reprinted his 1926 paper on the statistical relation between unemployment and inflation, retitling it as "I discovered the Phillips curve". Index numbers played an important role in his monetary theory, and his book The Making of Index Numbers has remained influential down to the present day.
Fisher's main intellectual rival was the Swedish economist Knut Wicksell. Fisher espoused a more succinct explanation of the quantity theory of money, resting it almost exclusively on long run prices. Wicksell's theory was considerably more complicated, beginning with interest rates in a system of changes in the real economy. Although both economists concluded from their theories that at the heart of the business cycle (and economic crisis) was government monetary policy, their disagreement would not be solved in their lifetimes, and indeed, it was inherited by the policy debates between the Keynesians and monetarists beginning a half-century later.
Debt-deflation
Following the stock market crash of 1929, and in light of the ensuing Great Depression, Fisher developed a theory of economic crises called debt-deflation, which attributed the crises to the bursting of a credit bubble. Initially, during the upswing over-confident economic agents are lured by the prospect of high profits to increase their debt in order to leverage their gains. According to Fisher, once the credit bubble bursts, this unleashes a series of effects that have serious negative impact on the real economy:
Debt liquidation and distress selling.
Contraction of the money supply as bank loans are paid off.
A fall in the level of asset prices.
A still greater fall in the net worth of businesses, precipitating bankruptcies.
A fall in profits.
A reduction in output, in trade and in employment.
Pessimism and loss of confidence.
Hoarding of money.
A fall in nominal interest rates and a rise in deflation-adjusted interest rates.
Crucially, as debtors try to liquidate or pay off their nominal debt, the fall of prices caused by this defeats the very attempt to reduce the real burden of debt. Thus, while repayment reduces the amount of money owed, this does not happen fast enough since the real value of the dollar now rises ('swelling of the dollar').
This theory was largely ignored in favor of Keynesian economics, in part because of the damage to Fisher's reputation caused by his public optimism about the stock market, just prior to the crash. Debt-deflation has experienced a revival of mainstream interest since the 1980s, and particularly with the Late-2000s recession. Steve Keen predicted the 2008 recession by using Hyman Minsky's further development of Fisher's work on debt-deflation. Debt-deflation is now the major theory with which Fisher's name is associated.
Stock market crash of 1929
The stock market crash of 1929 and the subsequent Great Depression cost Fisher much of his personal wealth and academic reputation. He famously predicted, nine days before the crash, that stock prices had "reached what looks like a permanently high plateau." Irving Fisher stated on October 21 that the market was "only shaking out of the lunatic fringe" and went on to explain why he felt the prices still had not caught up with their real value and should go much higher. On Wednesday, October 23, he announced in a banker's meeting "security values in most instances were not inflated." For months after the Crash, he continued to assure investors that a recovery was just around the corner. Once the Great Depression was in full force, he did warn that the ongoing drastic deflation was the cause of the disastrous cascading insolvencies then plaguing the American economy because deflation increased the real value of debts fixed in dollar terms. Fisher was so discredited by his 1929 pronouncements and by the failure of a firm he had started that few people took notice of his "debt-deflation" analysis of the Depression. People instead eagerly turned to the ideas of Keynes. Fisher's debt-deflation scenario has since seen a revival since the 1980s.
Constructive Income Taxation
Lawrence Lokken, the University of Miami School of Law professor of economics, credits
Fisher's 1942 book with the concept behind the Unlimited Savings Accumulation Tax, a reform introduced in the United States Senate in 1995 by Senator Pete Domenici (R-New Mexico), former Senator Sam Nunn (D-Georgia), and Senator Bob Kerrey (D-Nebraska). The concept was that unnecessary spending (which is hard to define in a law) can be taxed by taxing income minus all net investments and savings, and minus an allowance for essential purchases, thus making funds available for investment.
Social and health campaigns
In 1898, Fisher was diagnosed with tuberculosis, the same disease that had killed his father. He spent three years in sanatoria, finally making a full recovery. That experience sparked in him a vocation as a health campaigner. He was one of the founders of the Life Extension Institute, under whose auspices he co-authored the bestselling book How to Live: Rules for Healthful Living Based on Modern Science, published in 1915. He advocated regular exercise and the avoidance of red meat, tobacco, and alcohol. In 1924, Fisher wrote an anti-smoking article for the Reader's Digest, which argued that "tobacco lowers the whole tone of the body and decreases its vital power and resistance ... [it] acts like a narcotic poison, like opium and like alcohol, though usually in a less degree".
Fisher supported the legal prohibition of alcohol and wrote three booklets defending prohibition in the United States on grounds of public health and economic productivity. As a proponent of Eugenics he helped found the Race Betterment Foundation in 1906. He also defended eugenics, serving in the scientific advisory board of the Eugenics Record Office and as first president of the American Eugenics Society.
When his daughter Margaret was diagnosed with schizophrenia, Fisher had her treated at the New Jersey State Hospital at Trenton, whose director was the psychiatrist Henry Cotton. Cotton believed in a "focal sepsis" theory, according to which mental illness resulted from infectious material in the roots of teeth, bowel recesses, and other places in the body. Cotton also claimed that surgical removal of the infected tissue could alleviate the patient's mental disorder. At Trenton, Margaret Fisher had sections of her bowel and colon removed, which eventually resulted in her death. Irving Fisher nonetheless remained convinced of the validity of Cotton's treatment.
Selected publications
Fisher, Irving Norton, 1961. A Bibliography of the Writings of Irving Fisher (1961). Compiled by Fisher's son; contains 2425 entries.
Primary
1892. Mathematical Investigations in the Theory of Value and Prices. Scroll to chapter links.
1896. Appreciation and Interest. Link.
1906. The Nature of Capital and Income. Scroll to chapter links.
1907. The Rate of Interest. Extracts from Preface and Appendix to ch. VII.
1910, 1914. Introduction to Economic Science. Section links.
1911a, 1922, 2nd ed. The Purchasing Power of Money: Its Determination and Relation to Credit, Interest, and Crises. Scroll to chapter links from Library of Economics and Liberty (LE&L). Full text of 1920 edition online via FRASER
1911b, 1913. Elementary Principles of Economics. Scroll to chapter links.
1915. How to Live: Rules for Healthful Living Based on Modern Science (with Eugene Lyon Fisk). Link.
1918, "Is 'Utility' the Most Suitable Term for the Concept It is Used to Denote?" American Economic Review, pp. 335–37]. Reprint.
1921a. "Dollar Stabilization," Encyclopædia Britannica 12th ed.. XXX, pp. 852–853. Reprint page links from LE&L.
1921b, The Best Form of Index Number, American Statistical Association Quarterly. 17(133), pp. pp. 533–537.
1922. The Making of Index Numbers: A Study of Their Varieties, Tests, and Reliability. Scroll to chapter links,
1923, "The Business Cycle Largely a 'Dance of the Dollar'," Journal of the American Statistical Association, 18, pp. 1024–28. Link.
1926, "A Statistical Relation between Unemployment and Price Changes," International Labour Review, 13(6), p pp. 785–92. Reprinted as 1973, "I Discovered the Phillips Curve: A Statistical Relation between Unemployment and Price Changes'," Journal of Political Economy, 81(2, Part 1), p pp. 496–502.
1927, "A Statistical Method for Measuring 'Marginal Utility' and Testing the Justice of a Progressive Income Tax" in Economic Essays Contributed in Honor of John Bates Clark .
1928, The Money Illusion, New York: Adelphi Company. Scroll to chapter-preview links.
1930a. The Stock Market Crash and After.
1930b. The Theory of Interest. Chapter I. Chapter links, each numbered by paragraph via LE&L.
1932. Booms and Depressions: Some First Principles. full text online via FRASER.
1933b. Stamp Scrip. full text online
1935. 100% Money. full text online
1942. "Constructive Income Taxation: A Proposal for Reform." New York: Harper & Brothers.
1996. The Works of Irving Fisher. edited by William J. Barber et al. 14 volumes London : Pickering & Chatto.
See also
Chicago plan
Eugenics in the United States
Ham and Eggs Movement, California pension reform plan, 1938–40
Library of Economics and Liberty
Marginalism
Milton Friedman
2018 Swiss sovereign-money initiative
References
Further reading
Allen, Robert Loring (1993). Irving Fisher: A Biography
Dimand, Robert W. (2020). "J. Laurence Laughlin versus Irving Fisher on the quantity theory of money, 1894 to 1913." Oxford Economic Papers
Dimand, Robert W. (2003). "Irving Fisher on the International Transmission of Booms and Depressions through Monetary Standards." Journal of Money, Credit & Banking. Vol: 35#1 pp 49+. online edition
Dimand, Robert W. (1993). "The Dance of the Dollar: Irving Fisher's Monetary Theory of Economic Fluctuations," History of Economics Review 20:161–172.
Dimand, Robert W. (1994). "Irving Fisher's Debt-Deflation Theory of Great Depressions," Review of Social Economy 52:92–107
Dimand, Robert W., and Geanakoplos, John (2005). "Celebrating Irving Fisher: The Legacy of a Great Economist" American Journal of Economics & Sociology, Jan 2005, Vol. 64 Issue 1, pp. 3–18
(1958). The Economic Mind in American Civilization, vol. 3.
Fellner, William, ed. (1967). Ten Economic Studies in the Tradition of Irving Fisher
Fisher, Irving Norton (1956). My Father Irving Fisher.
Schumpeter, Joseph (1951). Ten Great Economists: 222–38.
Schumpeter, Joseph (1954). A History of Economic Analysis (1954)
Thaler, Richard (1999). "Irving Fisher: Behavioral Economist," American Economic Review.
Tobin, James (1987). "Fisher, Irving," The New Palgrave: A Dictionary of Economics, Vol. 2: 369–76. Reprinted in American Journal of Economics and Sociology, Jan, 2005, 17 pages.
Tobin, James (1985). "Neoclassical Theory in America: J. B. Clark and Fisher" American Economic Review (Dec 1985) vol 75#6 pp. 28–38 in JSTOR
External links
Archive for the History of Economic Thought at McMaster University
New School for Social Research website:
Irving Fisher, 1867–1947. Includes a photograph of the young Fisher. For a photograph of the older man, see Irving Fisher on the Portraits of Statisticians page.
Irving Fisher's Theory of Investment.
Irving Fisher Papers (MS 212). Manuscripts and Archives, Yale University Library.
Herbert Scarf, William C.Brainard, "How to Compute Equilibrium Prices in 1891". Cowles Foundation Discussion Paper 1272, August 2000 – for the description of Fisher's hydraulic apparatus.
Works by or about Irving Fisher on FRASER
American atheists
Economists from New York (state)
American statisticians
Neoclassical economists
1867 births
1947 deaths
American temperance activists
Activists from New York (state)
Tobacco researchers
American eugenicists
Presidents of the American Economic Association
Presidents of the American Statistical Association
Fellows of the Econometric Society
Presidents of the Econometric Society
Yale University alumni
People from Saugerties, New York
19th-century economists
20th-century American economists
Mathematicians from New York (state)
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"Jørg Tofte Jebsen (27 April 1888 – 7 January 1922) was a physicist from Norway, where he was the first to work on Einstein's general theory of relativity. In this connection he became known after his early death for what many now call the Jebsen-Birkhoff theorem for the metric tensor outside a general, spherical mass distribution.\n\nBiography\n\nJebsen was born and grew up in Berger, Vestfold, where his father Jens Johannes Jebsen ran two large textile mills. His mother was Agnes Marie Tofte and they had married in 1884. After elementary school he went through middle school and gymnasium in Oslo. He showed already then particular talents for mathematical topics.\n\nAfter the final examen artium in 1906, he did not continue his academic studies at a university as would be normal at that time. He was meant to enter his father's company and spent for that purpose two years in Aachen in Germany where he studied textile manufacturing. After a shorter stay in England, he came back to Norway and started to work with his father.\n\nBut his interests for natural science took over so that in 1909 he started this field of study at University of Oslo. His work there was interrupted in the period 1911-12 when he was an assistant for Sem Sæland at the newly established Norwegian Institute of Technology (NTH) in Trondheim. Back in Oslo he took up investigations of X-ray crystallography with Lars Vegard. With his help he could pursue this work at University of Berlin starting in the spring of 1914. That was at the same time as Einstein took up his new position there.\n\nTheory of relativity\nDuring the stay in Berlin it became clear that his main interests were in theoretical physics and electrodynamics in particular. This is central to Einstein's special theory of relativity and would define his future work back in Norway. From 1916 he took a new job as assistant in Trondheim, but had to resign after a year because of health problems. In the summer of 1917 he married Magnhild Andresen in Oslo and they had a child a year later. They had then moved back to his parents home in Berger where he worked alone on a larger treatise with the title Versuch einer elektrodynamischen Systematik. It was finished a year later in 1918 and he hoped that it could be used to obtain a doctors degree at the university. In the fall the same year he received treatment at a sanatorium for what turned out to be tuberculosis.\n\nThe faculty at the University in Oslo sent Jebsen's thesis for evaluation to Carl Wilhelm Oseen at the University of Uppsala. He had some critical comments with the result that it was approved for the more ordinary cand.real. degree. But Oseen had found this student so promising that he shortly thereafter was invited to work with him. Jebsen came to Uppsala in the fall of 1919 where he could follow lectures by Oseen on general relativity.\n\nJebsen-Birkhoff theorem\nAt that time it was natural to study the exact solution of Einstein’s equations for the metric outside a static, spherical mass distribution found by Karl Schwarzschild in 1916. \nJebsen set out to extend this achievement to the more general case for a spherical mass distribution that varied with time. This would be of relevance for pulsating stars. After a relative short time he came to the surprising result that the static Schwarzschild solution still gives the exact metric tensor outside the mass distribution. It means that such a spherical, pulsating star will not emit gravitational waves.\n\nDuring the spring 1920 he hoped to get the results published through the Royal Swedish Academy of Sciences. This was met by some difficulties, but after the intervention by Oseen it was accepted for publication in a Swedish journal for the natural sciences where it appeared the following year.\n\nHis work did not seem to generate much interest. One reason can be that the Swedish journal was not so well-known abroad. A couple of years later it was rediscovered by George David Birkhoff who included it in a popular science book he wrote. Thus it became known as \"Birkhoff's theorem.\" The original discovery of Jebsen was pointed out first in 2005, and translated into English. From that time on it is now more often called the Jebsen-Birkhoff theorem. Most modern-day proofs are along the lines of the original Jebsen derivation.\n\nFinal years\nEinstein came on a visit to Oslo in June 1920. He would give three public lectures about the theory of relativity after the invitation by the Student Society. Jebsen was also there, but it is not clear if he met him personally.\n\nIn the fall the same year Jebsen traveled with his family to Bolzano in northern Italy in order to find a milder climate to improve his deteriorating health. Here he wrote the first Norwegian presentation of the differential geometry used in general relativity. He also found time to write a popular book on Galileo Galilei and his struggle with the church. But his health did not improve and he died there on January 7, 1922. A few weeks later he was buried near his home in Norway.\n\nReferanser\n\nNorwegian physicists\nRelativity theorists\n1888 births\n1922 deaths\nPeople from Vestfold",
"Resistance theory is an aspect of political thought, discussing the basis on which constituted authority may be resisted, by individuals or groups. In the European context it came to prominence as a consequence of the religious divisions in the early modern period that followed the Protestant Reformation. Resistance theories could justify disobedience on religious grounds to monarchs, and were significant in European national politics and international relations in the century leading up to the Peace of Westphalia of 1648. They can also underpin and justify the concept of revolution as now understood. The resistance theory of the early modern period can be considered to predate the formulations of natural and legal rights of citizens, and to co-exist with considerations of natural law.\n\nAny \"right to resist\" is a theory about the limitations on civil obedience. Resistance theory is an aspect of political theory; the right of self-defence is usually taken to be a part of legal theory, and was no novelty in the early modern period. Arguments about the two concepts do overlap, and the distinction is not so clear in debates.\n\nThe language of magistracy\nResistance theory has been formulated as \"resistance to the magistrate\", where magistrate stands for authority in the legal form. In effect \"magistrate\" here may stand for head of state, but the modern concept of state grew up alongside the early modern resistance theories, rather than preceding them. Reference was made, for example by Althusius to classical history: to the ephors of the Spartan Constitution, as \"lesser magistrates\", or to the optimates of the late Roman Republic.\n\nChristian resistance theories of the early modern period\nThe various strands did not develop separately, and drew on pre-Reformation thinkers as well as contemporaries.\n\nLutheran resistance theory\n\nIt is argued that the beginnings of Protestant resistance theory lay in the legal positions worked out after the 1530 Diet of Augsburg, by jurists working for the Electorate of Saxony and the Landgraviate of Hesse. A summary on Lutheran ideas about resistance was included with the 1550 Magdeburg Confession. It argues that the \"subordinate powers\" in a state, faced with the situation where the \"supreme power\" is working to destroy true religion, under very specific circumstances (such as when the Beerwolf clause is fulfilled) may go further than non-cooperation with the supreme power and assist the faithful to resist.\n\nCalvinist resistance theory\n\nThe mainstream ideas from the Magdeburg Confession recur in Calvinist writings, from 1558 onwards. A little before that development come statements of John Ponet, Christopher Goodman and John Knox (The Monstruous Regiment of Women). The annotations of the Geneva Bible pointed to exemplars of resistance theory (and were not unique in that).\n\nThe literature includes but is not limited to the Huguenot resistance theory of the French Wars of Religion. Theodore Beza produced the 1574 work Right of Magistrates; it was followed by the anonymous Vindiciae contra tyrannos (1579). Resistance theory also became important for the justification of the Dutch Revolt. In the Politica (1603) of Johannes Althusius, one of the occasions justifying resistance to a supreme magistrate by inferior magistrates (roughly, members of the \"ruling class\"), in the case of tyranny, is for a prince or group of rulers of provinces, extended to the provincial \"authorities\", this matching the situation of the Revolt. Althusius was closer to Zwingli than Calvin in his approach, in fact, and clarified his views on church and state in successive editions.\n\nHugo Grotius, expelled from the Dutch Reformed Church because of his Remonstrant views, altered the question of resistance theory in two ways. In De jure belli ac pacis he argued against the distinction from the right of self-defence and accountable government. But he also modified the question, influentially, to include the removal of private warfare from political society (an issue of pacification).\n\nCatholic resistance theory\nIn the French context, Catholic resistance theory grew on the ultramontanism of the time, and developed through controversy and political alignment. This situation came about because the opposite \"cismontane\" tendency, Gallicanism, came to be allied with the politiques, and the royalist view tending to divine right. Therefore, the opponents of the monarchs Henry III and Henry IV in France, in the Catholic League, came to reason in favour of the limitations on royal power that their opponents denied. The position after the Council of Trent left the Jesuits opposed to the \"liberties\" claimed by the Gallican Church, and defenders of ultramontanism. The tradition of the papal deposing power was defended, in indirect form, by Robert Bellarmine in 1586, which amounted to validating some resistance by subjects; in reply Louis Servin in 1591 wrote a vindication in extreme form of Gallican liberties.\n\nResistance theory and the Church of England\nThe Church of England after the Elizabethan Settlement was a church open to Calvinist ideas, rather than a Calvinist church: Reformed theology was accepted on a piecemeal basis. The 1568 Bishops' Bible contained annotations with political content similar to those in the Geneva Bible. Thomas Bilson published in 1585 The True Difference betweene Christian Subiection and Unchristian Rebellion, in the context of the Treaty of Nonsuch between England and the United Provinces. It was reprinted in 1643, at the outbreak of the First English Civil War. Bilson argued against religion alone as a basis for resistance, so discounting the resistance theories of Christopher Goodman, John Knox and Huldrich Zwingli as politically based.\n\nIn The True Law of Free Monarchies (1598), James VI of Scotland set out his views on the relationship of king and subjects, against the current contractarian theories and especially the resistance theory of George Buchanan, who had been his tutor. Besides theoretical reasons for denying what Buchanan had written in De juri regni apud Scotos (1579), and dedicated to James, he felt that Buchanan had used Scottish history to support his claims only by misprision; and those views led to disorder. These opinions he did not vary on becoming king in England five years later; as for religious strife he was a conciliarist of an older tradition, in harmony with the views of Richard Hooker. Hooker's actual views on resistance theory were careful; he criticised aspects of the Vindiciae contra tyrannos, but avoided commenting in particular on legitimate resistance. Churchmen who would later be seen as poles apart on theology, Thomas Morton and David Owen, wrote in the period 1605–10 on resistance theory in a way equating it with a Catholic tradition; Owen commented that the analogy general council is to papacy as peers to monarchy is false.\n\nBy the time of the reign of Charles I, other considerations had come to matter more. Arminianism in the Church of England had become a source of great tension. But in theological terms Arminianism was compatible with divine right, as it was with resistance theory. The argument on resistance was going on elsewhere.\n\nResistance theory and the English Civil war\nA context for resistance theory in England was in the theoretical discussions of common law about how to incorporate monarchy into the \"ancient constitution\". Political conflicts that were stoked up by the outbreak of the Thirty Years' War took place in the 1620s with a shared consensus assumption against the legitimacy of resistance. It has been argued that the theorising from the late sixteenth century on the English ancient constitution was an \"antidote\" to resistance theory.\n\nConrad Russell's biography of John Pym in the Oxford Dictionary of National Biography comments that, while Pym almost certainly was familiar with resistance theory in its Protestant form, around the time in early 1642 when the First English Civil War was breaking out, he was too good a politician to show that he knew it. Russell has also argued that the Parliamentarians were almost completely successful in avoiding formulating a resistance theory.\n\nWhig resistance theory\nThe Whig faction was founded at the time of the Exclusion Crisis around 1680 in British politics, and its initial purpose was to resist the legitimate succession to the throne of James, Duke of York. \"Whig resistance theory\" had numerous strands, in particular when compared with the opposing legitimists (Jacobites) and the other major political faction, the Tories who advocated passive obedience as dissent, and as a definite limitation on resistance theories supported only passive resistance, indeed preferring nonresistance. John Locke's Two Treatises of Government, written at the time of the Exclusion Crisis but published after the Glorious Revolution, went back to the Calvinist resistance theory as in George Buchanan. Algernon Sidney like Locke replied to the Patriarcha of Robert Filmer, and provided a thorough animadversion.\n\nThe trial in 1710 of Henry Sacheverell, a High Church and High Tory cleric, brought Whig resistance theories into prominence and focus, by generating a controversial literature. These developments broke apart any semblance of unity in Anglican resistance theory. Constantine Phipps defended Sacheverell, and Benjamin Hoadley who was an extreme Whig in his The Original and Institution of Civil Government Discuss'd (1710), made opposite and incompatible claims about the treatment of resistance in Richard Hooker, who by now was an iconic figure in Anglican theology.\n\nSee also\nTyrant\nTyrannicide\nPopular sovereignty\n\nReferences\n\nEarly Modern politics\nPolitical theories\nControl (social and political)\nRevolution"
] |
[
"Irving Fisher",
"Utility theory",
"When did he come up with utility theory?",
"James Tobin argued that the intellectual breakthroughs that marked the neoclassical revolution in economics occurred in Europe around 1870.",
"What are the features of this theory?",
"In reviewing the history of utility theory, economist George Stigler wrote that Fisher's doctoral thesis had been \"brilliant\"",
"Did he get more reviews?",
"\" While his published work exhibited an unusual degree of mathematical sophistication for an economist of his day,",
"Where was he when he came up with the theory?",
"I don't know."
] |
C_9a075f891b624597bc36f3a999fcbddd_0
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Are there any other interesting aspects about this article?
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Besides utility theory, are there any other interesting aspects about this article?
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Irving Fisher
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James Tobin argued that the intellectual breakthroughs that marked the neoclassical revolution in economics occurred in Europe around 1870. The next two decades witnessed lively debates, which led to the new theory being more or less incorporated into the classical tradition that preceded it. In the 1890s, according to Joseph A. Schumpeter there emerged A large expanse of common ground and ... a feeling of repose, both of which created, in the superficial observer, an impression of finality - the finality of a Greek temple that spreads its perfect lines against a cloudless sky. Of course, Tobin argues, the temple was by no means complete. Its building and decoration continue to this day, even while its faithful throngs worship within. American economists were not present at the creation. To a considerable extent they built their own edifice independently, designing some new architecture in the process. They participated actively in the international controversies and syntheses of the period 1870-1914. At least two Americans were prominent builders of the "temple," John Bates Clark and Irving Fisher. They and others brought neoclassical theory into American journals, classrooms, and textbooks, and its analytical tools into the kits of researchers and practitioners. Eventually, for better or worse, their paradigm would dominate economic science in this country. In reviewing the history of utility theory, economist George Stigler wrote that Fisher's doctoral thesis had been "brilliant" and stressed that it contained "the first careful examination of the measurability of the utility function and its relevance to demand theory." While his published work exhibited an unusual degree of mathematical sophistication for an economist of his day, Fisher always sought to bring his analysis to life and to present his theories as lucidly as possible. For instance, to complement the arguments in his doctoral thesis, he built an elaborate hydraulic machine with pumps and levers, allowing him to demonstrate visually how the equilibrium prices in the market adjusted in response to changes in supply or demand. CANNOTANSWER
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While his published work exhibited an unusual degree of mathematical sophistication for an economist of his day, Fisher always sought to bring his analysis to life
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Irving Fisher (February 27, 1867 – April 29, 1947) was an American economist, statistician, inventor, eugenicist and progressive social campaigner. He was one of the earliest American neoclassical economists, though his later work on debt deflation has been embraced by the post-Keynesian school. Joseph Schumpeter described him as "the greatest economist the United States has ever produced", an assessment later repeated by James Tobin and Milton Friedman.
Fisher made important contributions to utility theory and general equilibrium. He was also a pioneer in the rigorous study of intertemporal choice in markets, which led him to develop a theory of capital and interest rates. His research on the quantity theory of money inaugurated the school of macroeconomic thought known as "monetarism". Fisher was also a pioneer of econometrics, including the development of index numbers. Some concepts named after him include the Fisher equation, the Fisher hypothesis, the international Fisher effect, the Fisher separation theorem and Fisher market.
Fisher was perhaps the first celebrity economist, but his reputation during his lifetime was irreparably harmed by his public statement, just nine days before the Wall Street Crash of 1929, that the stock market had reached "a permanently high plateau". His subsequent theory of debt deflation as an explanation of the Great Depression, as well as his advocacy of full-reserve banking and alternative currencies, were largely ignored in favor of the work of John Maynard Keynes. Fisher's reputation has since recovered in academic economics, particularly after his theoretical models were rediscovered in the late 1960s to the 1970s, a period of increasing reliance on mathematical models within the field. Interest in him has also grown in the public due to an increased interest in debt deflation after the Great Recession.
Fisher was one of the foremost proponents of the full-reserve banking, which he advocated as one of the authors of A Program for Monetary Reform where the general proposal is outlined.
Biography
Fisher was born in Saugerties, New York. His father was a teacher and a Congregational minister, who raised his son to believe he must be a useful member of society. Despite being raised in religious family, he later on became an atheist. As a child, he had remarkable mathematical ability and a flair for invention. A week after he was admitted to Yale College his father died, at age 53. Irving then supported his mother, brother, and himself, mainly by tutoring. He graduated first in his class with a B.A degree in 1888, having also been elected as a member of the Skull and Bones society.
In 1891, Fisher received the first Ph.D. in economics granted by Yale. His faculty advisors were the theoretical physicist Willard Gibbs and the sociologist William Graham Sumner. As a student, Fisher had shown particular talent and inclination for mathematics, but he found that economics offered greater scope for his ambition and social concerns. His thesis, published by Yale in 1892 as Mathematical Investigations in the Theory of Value and Prices, was a rigorous development of the theory of general equilibrium. When he began writing the thesis, Fisher had not been aware that Léon Walras and his continental European disciples had already covered similar ground. Nonetheless, Fisher's work was a very significant contribution and was immediately recognized and praised as first-rate by such European masters as Francis Edgeworth.
After graduating from Yale, Fisher studied in Berlin and Paris. From 1890 onward, he remained at Yale, first as a tutor, then after 1898 as a professor of political economy, and after 1935 as professor emeritus. He edited the Yale Review from 1896 to 1910 and was active in many learned societies, institutes, and welfare organizations. He was president of the American Economic Association in 1918. The American Mathematical Society selected him as its Gibbs Lecturer for 1929. A leading early proponent of econometrics, in 1930 he founded, with Ragnar Frisch and Charles F. Roos the Econometric Society, of which he was the first president.
Fisher was a prolific writer, producing journalism as well as technical books and articles, and addressing various social issues surrounding the First World War, the prosperous 1920s and the depressed 1930s. He made several practical inventions, the most notable of which was an "index visible filing system" which he patented in 1913 and sold to Kardex Rand (later Remington Rand) in 1925. This, and his subsequent stock investments, made him a wealthy man until his personal finances were badly hit by the Crash of 1929.
Fisher was also an active social and health campaigner, as well as an advocate of vegetarianism, prohibition, and eugenics. In 1893, he married Margaret Hazard, a granddaughter of Rhode Island industrialist and social reformer Rowland G. Hazard. He died of inoperable colon cancer in New York City in 1947, at the age of 80.
Economic theories
Utility theory
James Tobin, writing on the contributions of John Bates Clark and Irving Fisher to neoclassical theory in America argues that American economists contributed in their own way to the preparation of a common ground after the neoclassical revolution. In particular Clark and Irving Fisher “brought neoclassical theory into American journals, classrooms, and textbooks, and its analytical tools into the kits of researchers and practitioners.” Already in his doctoral thesis, “Fisher expounds thoroughly the mathematics of utility functions and their maximization, and he is careful to allow for corner solutions.” Already then, Fisher “states clearly that neither interpersonally comparable utility nor cardinal utility for each individual is necessary to the determination of equilibrium."
In reviewing the history of utility theory, economist George Stigler wrote that Fisher's doctoral thesis had been "brilliant" and stressed that it contained "the first careful examination of the measurability of the utility function and its relevance to demand theory." While his published work exhibited an unusual degree of mathematical sophistication for an economist of his day, Fisher always sought to bring his analysis to life and to present his theories as lucidly as possible. For instance, to complement the arguments in his doctoral thesis, he built an elaborate hydraulic machine with pumps and levers, allowing him to demonstrate visually how the equilibrium prices in the market adjusted in response to changes in supply or demand.
Interest and capital
Fisher is probably best remembered today in neoclassical economics for his theory of capital, investment, and interest rates, first exposited in his The Nature of Capital and Income (1906) and elaborated on in The Rate of Interest (1907). His 1930 treatise, The Theory of Interest, summed up a lifetime's research into capital, capital budgeting, credit markets, and the factors (including inflation) that determine interest rates.
Fisher saw that subjective economic value is not only a function of the amount of goods and services owned or exchanged, but also of the moment in time when they are purchased with money. A good available now has a different value than the same good available at a later date; value has a time as well as a quantity dimension. The relative price of goods available at a future date, in terms of goods sacrificed now, is measured by the interest rate. Fisher made free use of the standard diagrams used to teach undergraduate economics, but labeled the axes "consumption now" and "consumption next period" (instead of the usual schematic alternatives of "apples" and "oranges"). The resulting theory, one of considerable power and insight, was presented in detail in The Theory of Interest.
This model, later generalized to the case of K goods and N periods (including the case of infinitely many periods) has become a standard theory of capital and interest, and is described in Gravelle and Rees, and Aliprantis, Brown, and Burkinshaw. This theoretical advance is explained in Hirshleifer.
Fisher saw that the economic policy of what he did for his theory for was something that was making an impact on society as a whole. He was seen as the “greatest American economist of his time”, taking the skills of what he learned in mathematics and decided to incorporate it into economics for the greater good of the field of study. Once he brought out his Quantity Theory of Money, it started to take economic models and bring more of a life to them in the aspects of the mathematics included with it. With addressing models have the different axes labeled, there has been so much that he has contributed to the economic world. One of the strongest points that Fisher brings out in discussing interest rates was the power of impatience and time. When examining how a certain item can be valued during a point of time, then seeing how much it is in a different time, justified by interest, speaks out volumes of what is happening in the world. The impatience of humans with their nature of not wanting to wait for certain items speaks out to what is going in, with relations to interest rates. When an individual begins to wait, there is much that happens in relations with the interest rates. Overall, it becomes more of a monetary value that humans end up going for with not waiting for purchase something in the different period instead of the current. At the end, Fisher has left a huge impact the world on economics.
Monetary economics
Fisher's research into the basic theory of prices and interest rates did not touch directly on the great social issues of the day. On the other hand, his monetary economics did and this grew to be the main focus of Fisher's mature work.
It was Fisher who (following the pioneering work of Simon Newcomb) formulated the quantity theory of money in terms of the "equation of exchange:" Let M be the total stock of money, P the price level, T the amount of transactions carried out using money, and V the velocity of circulation of money, so that
Later economists replaced T by the real output Y (or Q), usually quantified by the real Gross domestic product (GDP).
Fisher's Appreciation and Interest was an abstract analysis of the behavior of interest rates when the price level is changing. It emphasized the distinction between real and nominal interest rates:
where is the real interest rate, is the nominal interest rate, and the inflation is a measure of the increase in the price level. When inflation is sufficiently low, the real interest rate can be approximated as the nominal interest rate minus the expected inflation rate. The resulting equation is known as the Fisher equation in his honor.
Fisher believed that investors and savers – people in general – were afflicted in varying degrees by "money illusion"; they could not see past the money to the goods the money could buy. In an ideal world, changes in the price level would have no effect on production or employment. In the actual world with money illusion, inflation (and deflation) did serious harm. For more than forty years, Fisher elaborated his vision of the damaging "dance of the dollar" and devised various schemes to "stabilize" money, i.e. to stabilize the price level. He was one of the first to subject macroeconomic data, including the money stock, interest rates, and the price level, to statistical analyses and tests. In the 1920s, he introduced the technique later called distributed lags. In 1973, the Journal of Political Economy posthumously reprinted his 1926 paper on the statistical relation between unemployment and inflation, retitling it as "I discovered the Phillips curve". Index numbers played an important role in his monetary theory, and his book The Making of Index Numbers has remained influential down to the present day.
Fisher's main intellectual rival was the Swedish economist Knut Wicksell. Fisher espoused a more succinct explanation of the quantity theory of money, resting it almost exclusively on long run prices. Wicksell's theory was considerably more complicated, beginning with interest rates in a system of changes in the real economy. Although both economists concluded from their theories that at the heart of the business cycle (and economic crisis) was government monetary policy, their disagreement would not be solved in their lifetimes, and indeed, it was inherited by the policy debates between the Keynesians and monetarists beginning a half-century later.
Debt-deflation
Following the stock market crash of 1929, and in light of the ensuing Great Depression, Fisher developed a theory of economic crises called debt-deflation, which attributed the crises to the bursting of a credit bubble. Initially, during the upswing over-confident economic agents are lured by the prospect of high profits to increase their debt in order to leverage their gains. According to Fisher, once the credit bubble bursts, this unleashes a series of effects that have serious negative impact on the real economy:
Debt liquidation and distress selling.
Contraction of the money supply as bank loans are paid off.
A fall in the level of asset prices.
A still greater fall in the net worth of businesses, precipitating bankruptcies.
A fall in profits.
A reduction in output, in trade and in employment.
Pessimism and loss of confidence.
Hoarding of money.
A fall in nominal interest rates and a rise in deflation-adjusted interest rates.
Crucially, as debtors try to liquidate or pay off their nominal debt, the fall of prices caused by this defeats the very attempt to reduce the real burden of debt. Thus, while repayment reduces the amount of money owed, this does not happen fast enough since the real value of the dollar now rises ('swelling of the dollar').
This theory was largely ignored in favor of Keynesian economics, in part because of the damage to Fisher's reputation caused by his public optimism about the stock market, just prior to the crash. Debt-deflation has experienced a revival of mainstream interest since the 1980s, and particularly with the Late-2000s recession. Steve Keen predicted the 2008 recession by using Hyman Minsky's further development of Fisher's work on debt-deflation. Debt-deflation is now the major theory with which Fisher's name is associated.
Stock market crash of 1929
The stock market crash of 1929 and the subsequent Great Depression cost Fisher much of his personal wealth and academic reputation. He famously predicted, nine days before the crash, that stock prices had "reached what looks like a permanently high plateau." Irving Fisher stated on October 21 that the market was "only shaking out of the lunatic fringe" and went on to explain why he felt the prices still had not caught up with their real value and should go much higher. On Wednesday, October 23, he announced in a banker's meeting "security values in most instances were not inflated." For months after the Crash, he continued to assure investors that a recovery was just around the corner. Once the Great Depression was in full force, he did warn that the ongoing drastic deflation was the cause of the disastrous cascading insolvencies then plaguing the American economy because deflation increased the real value of debts fixed in dollar terms. Fisher was so discredited by his 1929 pronouncements and by the failure of a firm he had started that few people took notice of his "debt-deflation" analysis of the Depression. People instead eagerly turned to the ideas of Keynes. Fisher's debt-deflation scenario has since seen a revival since the 1980s.
Constructive Income Taxation
Lawrence Lokken, the University of Miami School of Law professor of economics, credits
Fisher's 1942 book with the concept behind the Unlimited Savings Accumulation Tax, a reform introduced in the United States Senate in 1995 by Senator Pete Domenici (R-New Mexico), former Senator Sam Nunn (D-Georgia), and Senator Bob Kerrey (D-Nebraska). The concept was that unnecessary spending (which is hard to define in a law) can be taxed by taxing income minus all net investments and savings, and minus an allowance for essential purchases, thus making funds available for investment.
Social and health campaigns
In 1898, Fisher was diagnosed with tuberculosis, the same disease that had killed his father. He spent three years in sanatoria, finally making a full recovery. That experience sparked in him a vocation as a health campaigner. He was one of the founders of the Life Extension Institute, under whose auspices he co-authored the bestselling book How to Live: Rules for Healthful Living Based on Modern Science, published in 1915. He advocated regular exercise and the avoidance of red meat, tobacco, and alcohol. In 1924, Fisher wrote an anti-smoking article for the Reader's Digest, which argued that "tobacco lowers the whole tone of the body and decreases its vital power and resistance ... [it] acts like a narcotic poison, like opium and like alcohol, though usually in a less degree".
Fisher supported the legal prohibition of alcohol and wrote three booklets defending prohibition in the United States on grounds of public health and economic productivity. As a proponent of Eugenics he helped found the Race Betterment Foundation in 1906. He also defended eugenics, serving in the scientific advisory board of the Eugenics Record Office and as first president of the American Eugenics Society.
When his daughter Margaret was diagnosed with schizophrenia, Fisher had her treated at the New Jersey State Hospital at Trenton, whose director was the psychiatrist Henry Cotton. Cotton believed in a "focal sepsis" theory, according to which mental illness resulted from infectious material in the roots of teeth, bowel recesses, and other places in the body. Cotton also claimed that surgical removal of the infected tissue could alleviate the patient's mental disorder. At Trenton, Margaret Fisher had sections of her bowel and colon removed, which eventually resulted in her death. Irving Fisher nonetheless remained convinced of the validity of Cotton's treatment.
Selected publications
Fisher, Irving Norton, 1961. A Bibliography of the Writings of Irving Fisher (1961). Compiled by Fisher's son; contains 2425 entries.
Primary
1892. Mathematical Investigations in the Theory of Value and Prices. Scroll to chapter links.
1896. Appreciation and Interest. Link.
1906. The Nature of Capital and Income. Scroll to chapter links.
1907. The Rate of Interest. Extracts from Preface and Appendix to ch. VII.
1910, 1914. Introduction to Economic Science. Section links.
1911a, 1922, 2nd ed. The Purchasing Power of Money: Its Determination and Relation to Credit, Interest, and Crises. Scroll to chapter links from Library of Economics and Liberty (LE&L). Full text of 1920 edition online via FRASER
1911b, 1913. Elementary Principles of Economics. Scroll to chapter links.
1915. How to Live: Rules for Healthful Living Based on Modern Science (with Eugene Lyon Fisk). Link.
1918, "Is 'Utility' the Most Suitable Term for the Concept It is Used to Denote?" American Economic Review, pp. 335–37]. Reprint.
1921a. "Dollar Stabilization," Encyclopædia Britannica 12th ed.. XXX, pp. 852–853. Reprint page links from LE&L.
1921b, The Best Form of Index Number, American Statistical Association Quarterly. 17(133), pp. pp. 533–537.
1922. The Making of Index Numbers: A Study of Their Varieties, Tests, and Reliability. Scroll to chapter links,
1923, "The Business Cycle Largely a 'Dance of the Dollar'," Journal of the American Statistical Association, 18, pp. 1024–28. Link.
1926, "A Statistical Relation between Unemployment and Price Changes," International Labour Review, 13(6), p pp. 785–92. Reprinted as 1973, "I Discovered the Phillips Curve: A Statistical Relation between Unemployment and Price Changes'," Journal of Political Economy, 81(2, Part 1), p pp. 496–502.
1927, "A Statistical Method for Measuring 'Marginal Utility' and Testing the Justice of a Progressive Income Tax" in Economic Essays Contributed in Honor of John Bates Clark .
1928, The Money Illusion, New York: Adelphi Company. Scroll to chapter-preview links.
1930a. The Stock Market Crash and After.
1930b. The Theory of Interest. Chapter I. Chapter links, each numbered by paragraph via LE&L.
1932. Booms and Depressions: Some First Principles. full text online via FRASER.
1933b. Stamp Scrip. full text online
1935. 100% Money. full text online
1942. "Constructive Income Taxation: A Proposal for Reform." New York: Harper & Brothers.
1996. The Works of Irving Fisher. edited by William J. Barber et al. 14 volumes London : Pickering & Chatto.
See also
Chicago plan
Eugenics in the United States
Ham and Eggs Movement, California pension reform plan, 1938–40
Library of Economics and Liberty
Marginalism
Milton Friedman
2018 Swiss sovereign-money initiative
References
Further reading
Allen, Robert Loring (1993). Irving Fisher: A Biography
Dimand, Robert W. (2020). "J. Laurence Laughlin versus Irving Fisher on the quantity theory of money, 1894 to 1913." Oxford Economic Papers
Dimand, Robert W. (2003). "Irving Fisher on the International Transmission of Booms and Depressions through Monetary Standards." Journal of Money, Credit & Banking. Vol: 35#1 pp 49+. online edition
Dimand, Robert W. (1993). "The Dance of the Dollar: Irving Fisher's Monetary Theory of Economic Fluctuations," History of Economics Review 20:161–172.
Dimand, Robert W. (1994). "Irving Fisher's Debt-Deflation Theory of Great Depressions," Review of Social Economy 52:92–107
Dimand, Robert W., and Geanakoplos, John (2005). "Celebrating Irving Fisher: The Legacy of a Great Economist" American Journal of Economics & Sociology, Jan 2005, Vol. 64 Issue 1, pp. 3–18
(1958). The Economic Mind in American Civilization, vol. 3.
Fellner, William, ed. (1967). Ten Economic Studies in the Tradition of Irving Fisher
Fisher, Irving Norton (1956). My Father Irving Fisher.
Schumpeter, Joseph (1951). Ten Great Economists: 222–38.
Schumpeter, Joseph (1954). A History of Economic Analysis (1954)
Thaler, Richard (1999). "Irving Fisher: Behavioral Economist," American Economic Review.
Tobin, James (1987). "Fisher, Irving," The New Palgrave: A Dictionary of Economics, Vol. 2: 369–76. Reprinted in American Journal of Economics and Sociology, Jan, 2005, 17 pages.
Tobin, James (1985). "Neoclassical Theory in America: J. B. Clark and Fisher" American Economic Review (Dec 1985) vol 75#6 pp. 28–38 in JSTOR
External links
Archive for the History of Economic Thought at McMaster University
New School for Social Research website:
Irving Fisher, 1867–1947. Includes a photograph of the young Fisher. For a photograph of the older man, see Irving Fisher on the Portraits of Statisticians page.
Irving Fisher's Theory of Investment.
Irving Fisher Papers (MS 212). Manuscripts and Archives, Yale University Library.
Herbert Scarf, William C.Brainard, "How to Compute Equilibrium Prices in 1891". Cowles Foundation Discussion Paper 1272, August 2000 – for the description of Fisher's hydraulic apparatus.
Works by or about Irving Fisher on FRASER
American atheists
Economists from New York (state)
American statisticians
Neoclassical economists
1867 births
1947 deaths
American temperance activists
Activists from New York (state)
Tobacco researchers
American eugenicists
Presidents of the American Economic Association
Presidents of the American Statistical Association
Fellows of the Econometric Society
Presidents of the Econometric Society
Yale University alumni
People from Saugerties, New York
19th-century economists
20th-century American economists
Mathematicians from New York (state)
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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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[
"Irving Fisher",
"Utility theory",
"When did he come up with utility theory?",
"James Tobin argued that the intellectual breakthroughs that marked the neoclassical revolution in economics occurred in Europe around 1870.",
"What are the features of this theory?",
"In reviewing the history of utility theory, economist George Stigler wrote that Fisher's doctoral thesis had been \"brilliant\"",
"Did he get more reviews?",
"\" While his published work exhibited an unusual degree of mathematical sophistication for an economist of his day,",
"Where was he when he came up with the theory?",
"I don't know.",
"Are there any other interesting aspects about this article?",
"While his published work exhibited an unusual degree of mathematical sophistication for an economist of his day, Fisher always sought to bring his analysis to life"
] |
C_9a075f891b624597bc36f3a999fcbddd_0
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How did he do that?
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How did Irving Fisher come up with utility theory?
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Irving Fisher
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James Tobin argued that the intellectual breakthroughs that marked the neoclassical revolution in economics occurred in Europe around 1870. The next two decades witnessed lively debates, which led to the new theory being more or less incorporated into the classical tradition that preceded it. In the 1890s, according to Joseph A. Schumpeter there emerged A large expanse of common ground and ... a feeling of repose, both of which created, in the superficial observer, an impression of finality - the finality of a Greek temple that spreads its perfect lines against a cloudless sky. Of course, Tobin argues, the temple was by no means complete. Its building and decoration continue to this day, even while its faithful throngs worship within. American economists were not present at the creation. To a considerable extent they built their own edifice independently, designing some new architecture in the process. They participated actively in the international controversies and syntheses of the period 1870-1914. At least two Americans were prominent builders of the "temple," John Bates Clark and Irving Fisher. They and others brought neoclassical theory into American journals, classrooms, and textbooks, and its analytical tools into the kits of researchers and practitioners. Eventually, for better or worse, their paradigm would dominate economic science in this country. In reviewing the history of utility theory, economist George Stigler wrote that Fisher's doctoral thesis had been "brilliant" and stressed that it contained "the first careful examination of the measurability of the utility function and its relevance to demand theory." While his published work exhibited an unusual degree of mathematical sophistication for an economist of his day, Fisher always sought to bring his analysis to life and to present his theories as lucidly as possible. For instance, to complement the arguments in his doctoral thesis, he built an elaborate hydraulic machine with pumps and levers, allowing him to demonstrate visually how the equilibrium prices in the market adjusted in response to changes in supply or demand. CANNOTANSWER
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possible. For instance, to complement the arguments in his doctoral thesis,
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Irving Fisher (February 27, 1867 – April 29, 1947) was an American economist, statistician, inventor, eugenicist and progressive social campaigner. He was one of the earliest American neoclassical economists, though his later work on debt deflation has been embraced by the post-Keynesian school. Joseph Schumpeter described him as "the greatest economist the United States has ever produced", an assessment later repeated by James Tobin and Milton Friedman.
Fisher made important contributions to utility theory and general equilibrium. He was also a pioneer in the rigorous study of intertemporal choice in markets, which led him to develop a theory of capital and interest rates. His research on the quantity theory of money inaugurated the school of macroeconomic thought known as "monetarism". Fisher was also a pioneer of econometrics, including the development of index numbers. Some concepts named after him include the Fisher equation, the Fisher hypothesis, the international Fisher effect, the Fisher separation theorem and Fisher market.
Fisher was perhaps the first celebrity economist, but his reputation during his lifetime was irreparably harmed by his public statement, just nine days before the Wall Street Crash of 1929, that the stock market had reached "a permanently high plateau". His subsequent theory of debt deflation as an explanation of the Great Depression, as well as his advocacy of full-reserve banking and alternative currencies, were largely ignored in favor of the work of John Maynard Keynes. Fisher's reputation has since recovered in academic economics, particularly after his theoretical models were rediscovered in the late 1960s to the 1970s, a period of increasing reliance on mathematical models within the field. Interest in him has also grown in the public due to an increased interest in debt deflation after the Great Recession.
Fisher was one of the foremost proponents of the full-reserve banking, which he advocated as one of the authors of A Program for Monetary Reform where the general proposal is outlined.
Biography
Fisher was born in Saugerties, New York. His father was a teacher and a Congregational minister, who raised his son to believe he must be a useful member of society. Despite being raised in religious family, he later on became an atheist. As a child, he had remarkable mathematical ability and a flair for invention. A week after he was admitted to Yale College his father died, at age 53. Irving then supported his mother, brother, and himself, mainly by tutoring. He graduated first in his class with a B.A degree in 1888, having also been elected as a member of the Skull and Bones society.
In 1891, Fisher received the first Ph.D. in economics granted by Yale. His faculty advisors were the theoretical physicist Willard Gibbs and the sociologist William Graham Sumner. As a student, Fisher had shown particular talent and inclination for mathematics, but he found that economics offered greater scope for his ambition and social concerns. His thesis, published by Yale in 1892 as Mathematical Investigations in the Theory of Value and Prices, was a rigorous development of the theory of general equilibrium. When he began writing the thesis, Fisher had not been aware that Léon Walras and his continental European disciples had already covered similar ground. Nonetheless, Fisher's work was a very significant contribution and was immediately recognized and praised as first-rate by such European masters as Francis Edgeworth.
After graduating from Yale, Fisher studied in Berlin and Paris. From 1890 onward, he remained at Yale, first as a tutor, then after 1898 as a professor of political economy, and after 1935 as professor emeritus. He edited the Yale Review from 1896 to 1910 and was active in many learned societies, institutes, and welfare organizations. He was president of the American Economic Association in 1918. The American Mathematical Society selected him as its Gibbs Lecturer for 1929. A leading early proponent of econometrics, in 1930 he founded, with Ragnar Frisch and Charles F. Roos the Econometric Society, of which he was the first president.
Fisher was a prolific writer, producing journalism as well as technical books and articles, and addressing various social issues surrounding the First World War, the prosperous 1920s and the depressed 1930s. He made several practical inventions, the most notable of which was an "index visible filing system" which he patented in 1913 and sold to Kardex Rand (later Remington Rand) in 1925. This, and his subsequent stock investments, made him a wealthy man until his personal finances were badly hit by the Crash of 1929.
Fisher was also an active social and health campaigner, as well as an advocate of vegetarianism, prohibition, and eugenics. In 1893, he married Margaret Hazard, a granddaughter of Rhode Island industrialist and social reformer Rowland G. Hazard. He died of inoperable colon cancer in New York City in 1947, at the age of 80.
Economic theories
Utility theory
James Tobin, writing on the contributions of John Bates Clark and Irving Fisher to neoclassical theory in America argues that American economists contributed in their own way to the preparation of a common ground after the neoclassical revolution. In particular Clark and Irving Fisher “brought neoclassical theory into American journals, classrooms, and textbooks, and its analytical tools into the kits of researchers and practitioners.” Already in his doctoral thesis, “Fisher expounds thoroughly the mathematics of utility functions and their maximization, and he is careful to allow for corner solutions.” Already then, Fisher “states clearly that neither interpersonally comparable utility nor cardinal utility for each individual is necessary to the determination of equilibrium."
In reviewing the history of utility theory, economist George Stigler wrote that Fisher's doctoral thesis had been "brilliant" and stressed that it contained "the first careful examination of the measurability of the utility function and its relevance to demand theory." While his published work exhibited an unusual degree of mathematical sophistication for an economist of his day, Fisher always sought to bring his analysis to life and to present his theories as lucidly as possible. For instance, to complement the arguments in his doctoral thesis, he built an elaborate hydraulic machine with pumps and levers, allowing him to demonstrate visually how the equilibrium prices in the market adjusted in response to changes in supply or demand.
Interest and capital
Fisher is probably best remembered today in neoclassical economics for his theory of capital, investment, and interest rates, first exposited in his The Nature of Capital and Income (1906) and elaborated on in The Rate of Interest (1907). His 1930 treatise, The Theory of Interest, summed up a lifetime's research into capital, capital budgeting, credit markets, and the factors (including inflation) that determine interest rates.
Fisher saw that subjective economic value is not only a function of the amount of goods and services owned or exchanged, but also of the moment in time when they are purchased with money. A good available now has a different value than the same good available at a later date; value has a time as well as a quantity dimension. The relative price of goods available at a future date, in terms of goods sacrificed now, is measured by the interest rate. Fisher made free use of the standard diagrams used to teach undergraduate economics, but labeled the axes "consumption now" and "consumption next period" (instead of the usual schematic alternatives of "apples" and "oranges"). The resulting theory, one of considerable power and insight, was presented in detail in The Theory of Interest.
This model, later generalized to the case of K goods and N periods (including the case of infinitely many periods) has become a standard theory of capital and interest, and is described in Gravelle and Rees, and Aliprantis, Brown, and Burkinshaw. This theoretical advance is explained in Hirshleifer.
Fisher saw that the economic policy of what he did for his theory for was something that was making an impact on society as a whole. He was seen as the “greatest American economist of his time”, taking the skills of what he learned in mathematics and decided to incorporate it into economics for the greater good of the field of study. Once he brought out his Quantity Theory of Money, it started to take economic models and bring more of a life to them in the aspects of the mathematics included with it. With addressing models have the different axes labeled, there has been so much that he has contributed to the economic world. One of the strongest points that Fisher brings out in discussing interest rates was the power of impatience and time. When examining how a certain item can be valued during a point of time, then seeing how much it is in a different time, justified by interest, speaks out volumes of what is happening in the world. The impatience of humans with their nature of not wanting to wait for certain items speaks out to what is going in, with relations to interest rates. When an individual begins to wait, there is much that happens in relations with the interest rates. Overall, it becomes more of a monetary value that humans end up going for with not waiting for purchase something in the different period instead of the current. At the end, Fisher has left a huge impact the world on economics.
Monetary economics
Fisher's research into the basic theory of prices and interest rates did not touch directly on the great social issues of the day. On the other hand, his monetary economics did and this grew to be the main focus of Fisher's mature work.
It was Fisher who (following the pioneering work of Simon Newcomb) formulated the quantity theory of money in terms of the "equation of exchange:" Let M be the total stock of money, P the price level, T the amount of transactions carried out using money, and V the velocity of circulation of money, so that
Later economists replaced T by the real output Y (or Q), usually quantified by the real Gross domestic product (GDP).
Fisher's Appreciation and Interest was an abstract analysis of the behavior of interest rates when the price level is changing. It emphasized the distinction between real and nominal interest rates:
where is the real interest rate, is the nominal interest rate, and the inflation is a measure of the increase in the price level. When inflation is sufficiently low, the real interest rate can be approximated as the nominal interest rate minus the expected inflation rate. The resulting equation is known as the Fisher equation in his honor.
Fisher believed that investors and savers – people in general – were afflicted in varying degrees by "money illusion"; they could not see past the money to the goods the money could buy. In an ideal world, changes in the price level would have no effect on production or employment. In the actual world with money illusion, inflation (and deflation) did serious harm. For more than forty years, Fisher elaborated his vision of the damaging "dance of the dollar" and devised various schemes to "stabilize" money, i.e. to stabilize the price level. He was one of the first to subject macroeconomic data, including the money stock, interest rates, and the price level, to statistical analyses and tests. In the 1920s, he introduced the technique later called distributed lags. In 1973, the Journal of Political Economy posthumously reprinted his 1926 paper on the statistical relation between unemployment and inflation, retitling it as "I discovered the Phillips curve". Index numbers played an important role in his monetary theory, and his book The Making of Index Numbers has remained influential down to the present day.
Fisher's main intellectual rival was the Swedish economist Knut Wicksell. Fisher espoused a more succinct explanation of the quantity theory of money, resting it almost exclusively on long run prices. Wicksell's theory was considerably more complicated, beginning with interest rates in a system of changes in the real economy. Although both economists concluded from their theories that at the heart of the business cycle (and economic crisis) was government monetary policy, their disagreement would not be solved in their lifetimes, and indeed, it was inherited by the policy debates between the Keynesians and monetarists beginning a half-century later.
Debt-deflation
Following the stock market crash of 1929, and in light of the ensuing Great Depression, Fisher developed a theory of economic crises called debt-deflation, which attributed the crises to the bursting of a credit bubble. Initially, during the upswing over-confident economic agents are lured by the prospect of high profits to increase their debt in order to leverage their gains. According to Fisher, once the credit bubble bursts, this unleashes a series of effects that have serious negative impact on the real economy:
Debt liquidation and distress selling.
Contraction of the money supply as bank loans are paid off.
A fall in the level of asset prices.
A still greater fall in the net worth of businesses, precipitating bankruptcies.
A fall in profits.
A reduction in output, in trade and in employment.
Pessimism and loss of confidence.
Hoarding of money.
A fall in nominal interest rates and a rise in deflation-adjusted interest rates.
Crucially, as debtors try to liquidate or pay off their nominal debt, the fall of prices caused by this defeats the very attempt to reduce the real burden of debt. Thus, while repayment reduces the amount of money owed, this does not happen fast enough since the real value of the dollar now rises ('swelling of the dollar').
This theory was largely ignored in favor of Keynesian economics, in part because of the damage to Fisher's reputation caused by his public optimism about the stock market, just prior to the crash. Debt-deflation has experienced a revival of mainstream interest since the 1980s, and particularly with the Late-2000s recession. Steve Keen predicted the 2008 recession by using Hyman Minsky's further development of Fisher's work on debt-deflation. Debt-deflation is now the major theory with which Fisher's name is associated.
Stock market crash of 1929
The stock market crash of 1929 and the subsequent Great Depression cost Fisher much of his personal wealth and academic reputation. He famously predicted, nine days before the crash, that stock prices had "reached what looks like a permanently high plateau." Irving Fisher stated on October 21 that the market was "only shaking out of the lunatic fringe" and went on to explain why he felt the prices still had not caught up with their real value and should go much higher. On Wednesday, October 23, he announced in a banker's meeting "security values in most instances were not inflated." For months after the Crash, he continued to assure investors that a recovery was just around the corner. Once the Great Depression was in full force, he did warn that the ongoing drastic deflation was the cause of the disastrous cascading insolvencies then plaguing the American economy because deflation increased the real value of debts fixed in dollar terms. Fisher was so discredited by his 1929 pronouncements and by the failure of a firm he had started that few people took notice of his "debt-deflation" analysis of the Depression. People instead eagerly turned to the ideas of Keynes. Fisher's debt-deflation scenario has since seen a revival since the 1980s.
Constructive Income Taxation
Lawrence Lokken, the University of Miami School of Law professor of economics, credits
Fisher's 1942 book with the concept behind the Unlimited Savings Accumulation Tax, a reform introduced in the United States Senate in 1995 by Senator Pete Domenici (R-New Mexico), former Senator Sam Nunn (D-Georgia), and Senator Bob Kerrey (D-Nebraska). The concept was that unnecessary spending (which is hard to define in a law) can be taxed by taxing income minus all net investments and savings, and minus an allowance for essential purchases, thus making funds available for investment.
Social and health campaigns
In 1898, Fisher was diagnosed with tuberculosis, the same disease that had killed his father. He spent three years in sanatoria, finally making a full recovery. That experience sparked in him a vocation as a health campaigner. He was one of the founders of the Life Extension Institute, under whose auspices he co-authored the bestselling book How to Live: Rules for Healthful Living Based on Modern Science, published in 1915. He advocated regular exercise and the avoidance of red meat, tobacco, and alcohol. In 1924, Fisher wrote an anti-smoking article for the Reader's Digest, which argued that "tobacco lowers the whole tone of the body and decreases its vital power and resistance ... [it] acts like a narcotic poison, like opium and like alcohol, though usually in a less degree".
Fisher supported the legal prohibition of alcohol and wrote three booklets defending prohibition in the United States on grounds of public health and economic productivity. As a proponent of Eugenics he helped found the Race Betterment Foundation in 1906. He also defended eugenics, serving in the scientific advisory board of the Eugenics Record Office and as first president of the American Eugenics Society.
When his daughter Margaret was diagnosed with schizophrenia, Fisher had her treated at the New Jersey State Hospital at Trenton, whose director was the psychiatrist Henry Cotton. Cotton believed in a "focal sepsis" theory, according to which mental illness resulted from infectious material in the roots of teeth, bowel recesses, and other places in the body. Cotton also claimed that surgical removal of the infected tissue could alleviate the patient's mental disorder. At Trenton, Margaret Fisher had sections of her bowel and colon removed, which eventually resulted in her death. Irving Fisher nonetheless remained convinced of the validity of Cotton's treatment.
Selected publications
Fisher, Irving Norton, 1961. A Bibliography of the Writings of Irving Fisher (1961). Compiled by Fisher's son; contains 2425 entries.
Primary
1892. Mathematical Investigations in the Theory of Value and Prices. Scroll to chapter links.
1896. Appreciation and Interest. Link.
1906. The Nature of Capital and Income. Scroll to chapter links.
1907. The Rate of Interest. Extracts from Preface and Appendix to ch. VII.
1910, 1914. Introduction to Economic Science. Section links.
1911a, 1922, 2nd ed. The Purchasing Power of Money: Its Determination and Relation to Credit, Interest, and Crises. Scroll to chapter links from Library of Economics and Liberty (LE&L). Full text of 1920 edition online via FRASER
1911b, 1913. Elementary Principles of Economics. Scroll to chapter links.
1915. How to Live: Rules for Healthful Living Based on Modern Science (with Eugene Lyon Fisk). Link.
1918, "Is 'Utility' the Most Suitable Term for the Concept It is Used to Denote?" American Economic Review, pp. 335–37]. Reprint.
1921a. "Dollar Stabilization," Encyclopædia Britannica 12th ed.. XXX, pp. 852–853. Reprint page links from LE&L.
1921b, The Best Form of Index Number, American Statistical Association Quarterly. 17(133), pp. pp. 533–537.
1922. The Making of Index Numbers: A Study of Their Varieties, Tests, and Reliability. Scroll to chapter links,
1923, "The Business Cycle Largely a 'Dance of the Dollar'," Journal of the American Statistical Association, 18, pp. 1024–28. Link.
1926, "A Statistical Relation between Unemployment and Price Changes," International Labour Review, 13(6), p pp. 785–92. Reprinted as 1973, "I Discovered the Phillips Curve: A Statistical Relation between Unemployment and Price Changes'," Journal of Political Economy, 81(2, Part 1), p pp. 496–502.
1927, "A Statistical Method for Measuring 'Marginal Utility' and Testing the Justice of a Progressive Income Tax" in Economic Essays Contributed in Honor of John Bates Clark .
1928, The Money Illusion, New York: Adelphi Company. Scroll to chapter-preview links.
1930a. The Stock Market Crash and After.
1930b. The Theory of Interest. Chapter I. Chapter links, each numbered by paragraph via LE&L.
1932. Booms and Depressions: Some First Principles. full text online via FRASER.
1933b. Stamp Scrip. full text online
1935. 100% Money. full text online
1942. "Constructive Income Taxation: A Proposal for Reform." New York: Harper & Brothers.
1996. The Works of Irving Fisher. edited by William J. Barber et al. 14 volumes London : Pickering & Chatto.
See also
Chicago plan
Eugenics in the United States
Ham and Eggs Movement, California pension reform plan, 1938–40
Library of Economics and Liberty
Marginalism
Milton Friedman
2018 Swiss sovereign-money initiative
References
Further reading
Allen, Robert Loring (1993). Irving Fisher: A Biography
Dimand, Robert W. (2020). "J. Laurence Laughlin versus Irving Fisher on the quantity theory of money, 1894 to 1913." Oxford Economic Papers
Dimand, Robert W. (2003). "Irving Fisher on the International Transmission of Booms and Depressions through Monetary Standards." Journal of Money, Credit & Banking. Vol: 35#1 pp 49+. online edition
Dimand, Robert W. (1993). "The Dance of the Dollar: Irving Fisher's Monetary Theory of Economic Fluctuations," History of Economics Review 20:161–172.
Dimand, Robert W. (1994). "Irving Fisher's Debt-Deflation Theory of Great Depressions," Review of Social Economy 52:92–107
Dimand, Robert W., and Geanakoplos, John (2005). "Celebrating Irving Fisher: The Legacy of a Great Economist" American Journal of Economics & Sociology, Jan 2005, Vol. 64 Issue 1, pp. 3–18
(1958). The Economic Mind in American Civilization, vol. 3.
Fellner, William, ed. (1967). Ten Economic Studies in the Tradition of Irving Fisher
Fisher, Irving Norton (1956). My Father Irving Fisher.
Schumpeter, Joseph (1951). Ten Great Economists: 222–38.
Schumpeter, Joseph (1954). A History of Economic Analysis (1954)
Thaler, Richard (1999). "Irving Fisher: Behavioral Economist," American Economic Review.
Tobin, James (1987). "Fisher, Irving," The New Palgrave: A Dictionary of Economics, Vol. 2: 369–76. Reprinted in American Journal of Economics and Sociology, Jan, 2005, 17 pages.
Tobin, James (1985). "Neoclassical Theory in America: J. B. Clark and Fisher" American Economic Review (Dec 1985) vol 75#6 pp. 28–38 in JSTOR
External links
Archive for the History of Economic Thought at McMaster University
New School for Social Research website:
Irving Fisher, 1867–1947. Includes a photograph of the young Fisher. For a photograph of the older man, see Irving Fisher on the Portraits of Statisticians page.
Irving Fisher's Theory of Investment.
Irving Fisher Papers (MS 212). Manuscripts and Archives, Yale University Library.
Herbert Scarf, William C.Brainard, "How to Compute Equilibrium Prices in 1891". Cowles Foundation Discussion Paper 1272, August 2000 – for the description of Fisher's hydraulic apparatus.
Works by or about Irving Fisher on FRASER
American atheists
Economists from New York (state)
American statisticians
Neoclassical economists
1867 births
1947 deaths
American temperance activists
Activists from New York (state)
Tobacco researchers
American eugenicists
Presidents of the American Economic Association
Presidents of the American Statistical Association
Fellows of the Econometric Society
Presidents of the Econometric Society
Yale University alumni
People from Saugerties, New York
19th-century economists
20th-century American economists
Mathematicians from New York (state)
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[
"\"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",
"\"How Do You Do It?\" was the debut single by Liverpudlian band Gerry and the Pacemakers. It was written by Mitch Murray. The song reached number one in the UK Singles Chart on 11 April 1963, where it stayed for three weeks.\n\nHistory\nThe song was written by Mitch Murray, who offered it to Adam Faith and Brian Poole but was turned down. George Martin of EMI, feeling the song had enormous hit potential, decided to pick it up for the new group he was producing, the Beatles, as the A-side of their first single. The Beatles recorded the song on 4 September 1962 with Ringo Starr on drums. The group was initially opposed to recording it, feeling that it did not fit their sound, but worked out changes from Murray's demo-disc version. These included a new introduction, vocal harmony, an instrumental interlude, small lyric changes and removal of the half-step modulation for the last verse. Although Murray disliked their changes, the decision not to release the Beatles' version was primarily a business one. In fact, George Martin came very close to issuing \"How Do You Do It?\" as the Beatles' first single before settling instead on \"Love Me Do\", recorded during the same sessions. Martin commented later: \"I looked very hard at 'How Do You Do It?', but in the end I went with 'Love Me Do', it was quite a good record.\" McCartney would remark: \"We knew that the peer pressure back in Liverpool would not allow us to do 'How Do You Do It'.\"\n\nThe Beatles' version of \"How Do You Do It?\" was officially unissued for over 30 years, finally seeing release in November 1995 on the retrospective Anthology 1.\n\nWhile the Beatles' recording remained in the vaults, Martin still had faith in the song's appeal. Consequently, he had another new client, Gerry and the Pacemakers, record \"How Do You Do It?\" as their debut single in early 1963. This version of \"How Do You Do It?\", also produced by Martin, became a number-one hit in the UK until it was replaced by \"From Me to You\" (the Beatles' third single). It was the title song of a 7-inch EP that also featured \"Away From You\", \"I Like It\" and \"It's Happened to Me\" (Columbia SEG8257, released July 1963).\n\nChart performance\nGerry and the Pacemakers' version of \"How Do You Do It?\" was initially issued in the US and Canada in the spring of 1963, but made no impact on the charts. After the group had issued several chart singles in North America, the track was reissued in the summer of 1964. \"How Do You Do It?\" entered the US charts on 5 July 1964, eventually reaching number nine; it did even better in Canada, peaking at number six. Billboard described the song as a \"top-rated teen ballad\" with a \"great beat for dancing.\" Cash Box described it as a \"bright jumper...that's sure to get chart action right off the bat\" and also as \"a charming, teen-angled stomp-atwist’er...that the outfit knocks out in very commercial solo vocal and combo instrumental manner.\"\n\nIn their native UK, the single reached number one in the charts, staying there for three weeks in total.\n\nReferences\n\nExternal links\nGerry Marsden fan site\nClassic Bands history page\n\n1963 songs\n1963 debut singles\nSongs written by Mitch Murray\nGerry and the Pacemakers songs\nThe Beatles songs\nDick and Dee Dee songs\nSong recordings produced by George Martin\nUK Singles Chart number-one singles\nColumbia Graphophone Company singles"
] |
[
"Irving Fisher",
"Utility theory",
"When did he come up with utility theory?",
"James Tobin argued that the intellectual breakthroughs that marked the neoclassical revolution in economics occurred in Europe around 1870.",
"What are the features of this theory?",
"In reviewing the history of utility theory, economist George Stigler wrote that Fisher's doctoral thesis had been \"brilliant\"",
"Did he get more reviews?",
"\" While his published work exhibited an unusual degree of mathematical sophistication for an economist of his day,",
"Where was he when he came up with the theory?",
"I don't know.",
"Are there any other interesting aspects about this article?",
"While his published work exhibited an unusual degree of mathematical sophistication for an economist of his day, Fisher always sought to bring his analysis to life",
"How did he do that?",
"possible. For instance, to complement the arguments in his doctoral thesis,"
] |
C_9a075f891b624597bc36f3a999fcbddd_0
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How did he augment the arguments?
| 7 |
How did Irving Fisher augment the arguments for utility theory?
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Irving Fisher
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James Tobin argued that the intellectual breakthroughs that marked the neoclassical revolution in economics occurred in Europe around 1870. The next two decades witnessed lively debates, which led to the new theory being more or less incorporated into the classical tradition that preceded it. In the 1890s, according to Joseph A. Schumpeter there emerged A large expanse of common ground and ... a feeling of repose, both of which created, in the superficial observer, an impression of finality - the finality of a Greek temple that spreads its perfect lines against a cloudless sky. Of course, Tobin argues, the temple was by no means complete. Its building and decoration continue to this day, even while its faithful throngs worship within. American economists were not present at the creation. To a considerable extent they built their own edifice independently, designing some new architecture in the process. They participated actively in the international controversies and syntheses of the period 1870-1914. At least two Americans were prominent builders of the "temple," John Bates Clark and Irving Fisher. They and others brought neoclassical theory into American journals, classrooms, and textbooks, and its analytical tools into the kits of researchers and practitioners. Eventually, for better or worse, their paradigm would dominate economic science in this country. In reviewing the history of utility theory, economist George Stigler wrote that Fisher's doctoral thesis had been "brilliant" and stressed that it contained "the first careful examination of the measurability of the utility function and its relevance to demand theory." While his published work exhibited an unusual degree of mathematical sophistication for an economist of his day, Fisher always sought to bring his analysis to life and to present his theories as lucidly as possible. For instance, to complement the arguments in his doctoral thesis, he built an elaborate hydraulic machine with pumps and levers, allowing him to demonstrate visually how the equilibrium prices in the market adjusted in response to changes in supply or demand. CANNOTANSWER
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he built an elaborate hydraulic machine with pumps and levers, allowing him to demonstrate visually how the equilibrium prices in the market
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Irving Fisher (February 27, 1867 – April 29, 1947) was an American economist, statistician, inventor, eugenicist and progressive social campaigner. He was one of the earliest American neoclassical economists, though his later work on debt deflation has been embraced by the post-Keynesian school. Joseph Schumpeter described him as "the greatest economist the United States has ever produced", an assessment later repeated by James Tobin and Milton Friedman.
Fisher made important contributions to utility theory and general equilibrium. He was also a pioneer in the rigorous study of intertemporal choice in markets, which led him to develop a theory of capital and interest rates. His research on the quantity theory of money inaugurated the school of macroeconomic thought known as "monetarism". Fisher was also a pioneer of econometrics, including the development of index numbers. Some concepts named after him include the Fisher equation, the Fisher hypothesis, the international Fisher effect, the Fisher separation theorem and Fisher market.
Fisher was perhaps the first celebrity economist, but his reputation during his lifetime was irreparably harmed by his public statement, just nine days before the Wall Street Crash of 1929, that the stock market had reached "a permanently high plateau". His subsequent theory of debt deflation as an explanation of the Great Depression, as well as his advocacy of full-reserve banking and alternative currencies, were largely ignored in favor of the work of John Maynard Keynes. Fisher's reputation has since recovered in academic economics, particularly after his theoretical models were rediscovered in the late 1960s to the 1970s, a period of increasing reliance on mathematical models within the field. Interest in him has also grown in the public due to an increased interest in debt deflation after the Great Recession.
Fisher was one of the foremost proponents of the full-reserve banking, which he advocated as one of the authors of A Program for Monetary Reform where the general proposal is outlined.
Biography
Fisher was born in Saugerties, New York. His father was a teacher and a Congregational minister, who raised his son to believe he must be a useful member of society. Despite being raised in religious family, he later on became an atheist. As a child, he had remarkable mathematical ability and a flair for invention. A week after he was admitted to Yale College his father died, at age 53. Irving then supported his mother, brother, and himself, mainly by tutoring. He graduated first in his class with a B.A degree in 1888, having also been elected as a member of the Skull and Bones society.
In 1891, Fisher received the first Ph.D. in economics granted by Yale. His faculty advisors were the theoretical physicist Willard Gibbs and the sociologist William Graham Sumner. As a student, Fisher had shown particular talent and inclination for mathematics, but he found that economics offered greater scope for his ambition and social concerns. His thesis, published by Yale in 1892 as Mathematical Investigations in the Theory of Value and Prices, was a rigorous development of the theory of general equilibrium. When he began writing the thesis, Fisher had not been aware that Léon Walras and his continental European disciples had already covered similar ground. Nonetheless, Fisher's work was a very significant contribution and was immediately recognized and praised as first-rate by such European masters as Francis Edgeworth.
After graduating from Yale, Fisher studied in Berlin and Paris. From 1890 onward, he remained at Yale, first as a tutor, then after 1898 as a professor of political economy, and after 1935 as professor emeritus. He edited the Yale Review from 1896 to 1910 and was active in many learned societies, institutes, and welfare organizations. He was president of the American Economic Association in 1918. The American Mathematical Society selected him as its Gibbs Lecturer for 1929. A leading early proponent of econometrics, in 1930 he founded, with Ragnar Frisch and Charles F. Roos the Econometric Society, of which he was the first president.
Fisher was a prolific writer, producing journalism as well as technical books and articles, and addressing various social issues surrounding the First World War, the prosperous 1920s and the depressed 1930s. He made several practical inventions, the most notable of which was an "index visible filing system" which he patented in 1913 and sold to Kardex Rand (later Remington Rand) in 1925. This, and his subsequent stock investments, made him a wealthy man until his personal finances were badly hit by the Crash of 1929.
Fisher was also an active social and health campaigner, as well as an advocate of vegetarianism, prohibition, and eugenics. In 1893, he married Margaret Hazard, a granddaughter of Rhode Island industrialist and social reformer Rowland G. Hazard. He died of inoperable colon cancer in New York City in 1947, at the age of 80.
Economic theories
Utility theory
James Tobin, writing on the contributions of John Bates Clark and Irving Fisher to neoclassical theory in America argues that American economists contributed in their own way to the preparation of a common ground after the neoclassical revolution. In particular Clark and Irving Fisher “brought neoclassical theory into American journals, classrooms, and textbooks, and its analytical tools into the kits of researchers and practitioners.” Already in his doctoral thesis, “Fisher expounds thoroughly the mathematics of utility functions and their maximization, and he is careful to allow for corner solutions.” Already then, Fisher “states clearly that neither interpersonally comparable utility nor cardinal utility for each individual is necessary to the determination of equilibrium."
In reviewing the history of utility theory, economist George Stigler wrote that Fisher's doctoral thesis had been "brilliant" and stressed that it contained "the first careful examination of the measurability of the utility function and its relevance to demand theory." While his published work exhibited an unusual degree of mathematical sophistication for an economist of his day, Fisher always sought to bring his analysis to life and to present his theories as lucidly as possible. For instance, to complement the arguments in his doctoral thesis, he built an elaborate hydraulic machine with pumps and levers, allowing him to demonstrate visually how the equilibrium prices in the market adjusted in response to changes in supply or demand.
Interest and capital
Fisher is probably best remembered today in neoclassical economics for his theory of capital, investment, and interest rates, first exposited in his The Nature of Capital and Income (1906) and elaborated on in The Rate of Interest (1907). His 1930 treatise, The Theory of Interest, summed up a lifetime's research into capital, capital budgeting, credit markets, and the factors (including inflation) that determine interest rates.
Fisher saw that subjective economic value is not only a function of the amount of goods and services owned or exchanged, but also of the moment in time when they are purchased with money. A good available now has a different value than the same good available at a later date; value has a time as well as a quantity dimension. The relative price of goods available at a future date, in terms of goods sacrificed now, is measured by the interest rate. Fisher made free use of the standard diagrams used to teach undergraduate economics, but labeled the axes "consumption now" and "consumption next period" (instead of the usual schematic alternatives of "apples" and "oranges"). The resulting theory, one of considerable power and insight, was presented in detail in The Theory of Interest.
This model, later generalized to the case of K goods and N periods (including the case of infinitely many periods) has become a standard theory of capital and interest, and is described in Gravelle and Rees, and Aliprantis, Brown, and Burkinshaw. This theoretical advance is explained in Hirshleifer.
Fisher saw that the economic policy of what he did for his theory for was something that was making an impact on society as a whole. He was seen as the “greatest American economist of his time”, taking the skills of what he learned in mathematics and decided to incorporate it into economics for the greater good of the field of study. Once he brought out his Quantity Theory of Money, it started to take economic models and bring more of a life to them in the aspects of the mathematics included with it. With addressing models have the different axes labeled, there has been so much that he has contributed to the economic world. One of the strongest points that Fisher brings out in discussing interest rates was the power of impatience and time. When examining how a certain item can be valued during a point of time, then seeing how much it is in a different time, justified by interest, speaks out volumes of what is happening in the world. The impatience of humans with their nature of not wanting to wait for certain items speaks out to what is going in, with relations to interest rates. When an individual begins to wait, there is much that happens in relations with the interest rates. Overall, it becomes more of a monetary value that humans end up going for with not waiting for purchase something in the different period instead of the current. At the end, Fisher has left a huge impact the world on economics.
Monetary economics
Fisher's research into the basic theory of prices and interest rates did not touch directly on the great social issues of the day. On the other hand, his monetary economics did and this grew to be the main focus of Fisher's mature work.
It was Fisher who (following the pioneering work of Simon Newcomb) formulated the quantity theory of money in terms of the "equation of exchange:" Let M be the total stock of money, P the price level, T the amount of transactions carried out using money, and V the velocity of circulation of money, so that
Later economists replaced T by the real output Y (or Q), usually quantified by the real Gross domestic product (GDP).
Fisher's Appreciation and Interest was an abstract analysis of the behavior of interest rates when the price level is changing. It emphasized the distinction between real and nominal interest rates:
where is the real interest rate, is the nominal interest rate, and the inflation is a measure of the increase in the price level. When inflation is sufficiently low, the real interest rate can be approximated as the nominal interest rate minus the expected inflation rate. The resulting equation is known as the Fisher equation in his honor.
Fisher believed that investors and savers – people in general – were afflicted in varying degrees by "money illusion"; they could not see past the money to the goods the money could buy. In an ideal world, changes in the price level would have no effect on production or employment. In the actual world with money illusion, inflation (and deflation) did serious harm. For more than forty years, Fisher elaborated his vision of the damaging "dance of the dollar" and devised various schemes to "stabilize" money, i.e. to stabilize the price level. He was one of the first to subject macroeconomic data, including the money stock, interest rates, and the price level, to statistical analyses and tests. In the 1920s, he introduced the technique later called distributed lags. In 1973, the Journal of Political Economy posthumously reprinted his 1926 paper on the statistical relation between unemployment and inflation, retitling it as "I discovered the Phillips curve". Index numbers played an important role in his monetary theory, and his book The Making of Index Numbers has remained influential down to the present day.
Fisher's main intellectual rival was the Swedish economist Knut Wicksell. Fisher espoused a more succinct explanation of the quantity theory of money, resting it almost exclusively on long run prices. Wicksell's theory was considerably more complicated, beginning with interest rates in a system of changes in the real economy. Although both economists concluded from their theories that at the heart of the business cycle (and economic crisis) was government monetary policy, their disagreement would not be solved in their lifetimes, and indeed, it was inherited by the policy debates between the Keynesians and monetarists beginning a half-century later.
Debt-deflation
Following the stock market crash of 1929, and in light of the ensuing Great Depression, Fisher developed a theory of economic crises called debt-deflation, which attributed the crises to the bursting of a credit bubble. Initially, during the upswing over-confident economic agents are lured by the prospect of high profits to increase their debt in order to leverage their gains. According to Fisher, once the credit bubble bursts, this unleashes a series of effects that have serious negative impact on the real economy:
Debt liquidation and distress selling.
Contraction of the money supply as bank loans are paid off.
A fall in the level of asset prices.
A still greater fall in the net worth of businesses, precipitating bankruptcies.
A fall in profits.
A reduction in output, in trade and in employment.
Pessimism and loss of confidence.
Hoarding of money.
A fall in nominal interest rates and a rise in deflation-adjusted interest rates.
Crucially, as debtors try to liquidate or pay off their nominal debt, the fall of prices caused by this defeats the very attempt to reduce the real burden of debt. Thus, while repayment reduces the amount of money owed, this does not happen fast enough since the real value of the dollar now rises ('swelling of the dollar').
This theory was largely ignored in favor of Keynesian economics, in part because of the damage to Fisher's reputation caused by his public optimism about the stock market, just prior to the crash. Debt-deflation has experienced a revival of mainstream interest since the 1980s, and particularly with the Late-2000s recession. Steve Keen predicted the 2008 recession by using Hyman Minsky's further development of Fisher's work on debt-deflation. Debt-deflation is now the major theory with which Fisher's name is associated.
Stock market crash of 1929
The stock market crash of 1929 and the subsequent Great Depression cost Fisher much of his personal wealth and academic reputation. He famously predicted, nine days before the crash, that stock prices had "reached what looks like a permanently high plateau." Irving Fisher stated on October 21 that the market was "only shaking out of the lunatic fringe" and went on to explain why he felt the prices still had not caught up with their real value and should go much higher. On Wednesday, October 23, he announced in a banker's meeting "security values in most instances were not inflated." For months after the Crash, he continued to assure investors that a recovery was just around the corner. Once the Great Depression was in full force, he did warn that the ongoing drastic deflation was the cause of the disastrous cascading insolvencies then plaguing the American economy because deflation increased the real value of debts fixed in dollar terms. Fisher was so discredited by his 1929 pronouncements and by the failure of a firm he had started that few people took notice of his "debt-deflation" analysis of the Depression. People instead eagerly turned to the ideas of Keynes. Fisher's debt-deflation scenario has since seen a revival since the 1980s.
Constructive Income Taxation
Lawrence Lokken, the University of Miami School of Law professor of economics, credits
Fisher's 1942 book with the concept behind the Unlimited Savings Accumulation Tax, a reform introduced in the United States Senate in 1995 by Senator Pete Domenici (R-New Mexico), former Senator Sam Nunn (D-Georgia), and Senator Bob Kerrey (D-Nebraska). The concept was that unnecessary spending (which is hard to define in a law) can be taxed by taxing income minus all net investments and savings, and minus an allowance for essential purchases, thus making funds available for investment.
Social and health campaigns
In 1898, Fisher was diagnosed with tuberculosis, the same disease that had killed his father. He spent three years in sanatoria, finally making a full recovery. That experience sparked in him a vocation as a health campaigner. He was one of the founders of the Life Extension Institute, under whose auspices he co-authored the bestselling book How to Live: Rules for Healthful Living Based on Modern Science, published in 1915. He advocated regular exercise and the avoidance of red meat, tobacco, and alcohol. In 1924, Fisher wrote an anti-smoking article for the Reader's Digest, which argued that "tobacco lowers the whole tone of the body and decreases its vital power and resistance ... [it] acts like a narcotic poison, like opium and like alcohol, though usually in a less degree".
Fisher supported the legal prohibition of alcohol and wrote three booklets defending prohibition in the United States on grounds of public health and economic productivity. As a proponent of Eugenics he helped found the Race Betterment Foundation in 1906. He also defended eugenics, serving in the scientific advisory board of the Eugenics Record Office and as first president of the American Eugenics Society.
When his daughter Margaret was diagnosed with schizophrenia, Fisher had her treated at the New Jersey State Hospital at Trenton, whose director was the psychiatrist Henry Cotton. Cotton believed in a "focal sepsis" theory, according to which mental illness resulted from infectious material in the roots of teeth, bowel recesses, and other places in the body. Cotton also claimed that surgical removal of the infected tissue could alleviate the patient's mental disorder. At Trenton, Margaret Fisher had sections of her bowel and colon removed, which eventually resulted in her death. Irving Fisher nonetheless remained convinced of the validity of Cotton's treatment.
Selected publications
Fisher, Irving Norton, 1961. A Bibliography of the Writings of Irving Fisher (1961). Compiled by Fisher's son; contains 2425 entries.
Primary
1892. Mathematical Investigations in the Theory of Value and Prices. Scroll to chapter links.
1896. Appreciation and Interest. Link.
1906. The Nature of Capital and Income. Scroll to chapter links.
1907. The Rate of Interest. Extracts from Preface and Appendix to ch. VII.
1910, 1914. Introduction to Economic Science. Section links.
1911a, 1922, 2nd ed. The Purchasing Power of Money: Its Determination and Relation to Credit, Interest, and Crises. Scroll to chapter links from Library of Economics and Liberty (LE&L). Full text of 1920 edition online via FRASER
1911b, 1913. Elementary Principles of Economics. Scroll to chapter links.
1915. How to Live: Rules for Healthful Living Based on Modern Science (with Eugene Lyon Fisk). Link.
1918, "Is 'Utility' the Most Suitable Term for the Concept It is Used to Denote?" American Economic Review, pp. 335–37]. Reprint.
1921a. "Dollar Stabilization," Encyclopædia Britannica 12th ed.. XXX, pp. 852–853. Reprint page links from LE&L.
1921b, The Best Form of Index Number, American Statistical Association Quarterly. 17(133), pp. pp. 533–537.
1922. The Making of Index Numbers: A Study of Their Varieties, Tests, and Reliability. Scroll to chapter links,
1923, "The Business Cycle Largely a 'Dance of the Dollar'," Journal of the American Statistical Association, 18, pp. 1024–28. Link.
1926, "A Statistical Relation between Unemployment and Price Changes," International Labour Review, 13(6), p pp. 785–92. Reprinted as 1973, "I Discovered the Phillips Curve: A Statistical Relation between Unemployment and Price Changes'," Journal of Political Economy, 81(2, Part 1), p pp. 496–502.
1927, "A Statistical Method for Measuring 'Marginal Utility' and Testing the Justice of a Progressive Income Tax" in Economic Essays Contributed in Honor of John Bates Clark .
1928, The Money Illusion, New York: Adelphi Company. Scroll to chapter-preview links.
1930a. The Stock Market Crash and After.
1930b. The Theory of Interest. Chapter I. Chapter links, each numbered by paragraph via LE&L.
1932. Booms and Depressions: Some First Principles. full text online via FRASER.
1933b. Stamp Scrip. full text online
1935. 100% Money. full text online
1942. "Constructive Income Taxation: A Proposal for Reform." New York: Harper & Brothers.
1996. The Works of Irving Fisher. edited by William J. Barber et al. 14 volumes London : Pickering & Chatto.
See also
Chicago plan
Eugenics in the United States
Ham and Eggs Movement, California pension reform plan, 1938–40
Library of Economics and Liberty
Marginalism
Milton Friedman
2018 Swiss sovereign-money initiative
References
Further reading
Allen, Robert Loring (1993). Irving Fisher: A Biography
Dimand, Robert W. (2020). "J. Laurence Laughlin versus Irving Fisher on the quantity theory of money, 1894 to 1913." Oxford Economic Papers
Dimand, Robert W. (2003). "Irving Fisher on the International Transmission of Booms and Depressions through Monetary Standards." Journal of Money, Credit & Banking. Vol: 35#1 pp 49+. online edition
Dimand, Robert W. (1993). "The Dance of the Dollar: Irving Fisher's Monetary Theory of Economic Fluctuations," History of Economics Review 20:161–172.
Dimand, Robert W. (1994). "Irving Fisher's Debt-Deflation Theory of Great Depressions," Review of Social Economy 52:92–107
Dimand, Robert W., and Geanakoplos, John (2005). "Celebrating Irving Fisher: The Legacy of a Great Economist" American Journal of Economics & Sociology, Jan 2005, Vol. 64 Issue 1, pp. 3–18
(1958). The Economic Mind in American Civilization, vol. 3.
Fellner, William, ed. (1967). Ten Economic Studies in the Tradition of Irving Fisher
Fisher, Irving Norton (1956). My Father Irving Fisher.
Schumpeter, Joseph (1951). Ten Great Economists: 222–38.
Schumpeter, Joseph (1954). A History of Economic Analysis (1954)
Thaler, Richard (1999). "Irving Fisher: Behavioral Economist," American Economic Review.
Tobin, James (1987). "Fisher, Irving," The New Palgrave: A Dictionary of Economics, Vol. 2: 369–76. Reprinted in American Journal of Economics and Sociology, Jan, 2005, 17 pages.
Tobin, James (1985). "Neoclassical Theory in America: J. B. Clark and Fisher" American Economic Review (Dec 1985) vol 75#6 pp. 28–38 in JSTOR
External links
Archive for the History of Economic Thought at McMaster University
New School for Social Research website:
Irving Fisher, 1867–1947. Includes a photograph of the young Fisher. For a photograph of the older man, see Irving Fisher on the Portraits of Statisticians page.
Irving Fisher's Theory of Investment.
Irving Fisher Papers (MS 212). Manuscripts and Archives, Yale University Library.
Herbert Scarf, William C.Brainard, "How to Compute Equilibrium Prices in 1891". Cowles Foundation Discussion Paper 1272, August 2000 – for the description of Fisher's hydraulic apparatus.
Works by or about Irving Fisher on FRASER
American atheists
Economists from New York (state)
American statisticians
Neoclassical economists
1867 births
1947 deaths
American temperance activists
Activists from New York (state)
Tobacco researchers
American eugenicists
Presidents of the American Economic Association
Presidents of the American Statistical Association
Fellows of the Econometric Society
Presidents of the Econometric Society
Yale University alumni
People from Saugerties, New York
19th-century economists
20th-century American economists
Mathematicians from New York (state)
| true |
[
"The augment is a prefix used in certain Indo-European languages (Indo-Iranian, Greek, Armenian and Phrygian) to indicate past time. The augment is of rather late origin in Proto-Indo-European, and in the oldest daughter languages such as Vedic Sanskrit and early Greek, it is used optionally. The same verb forms when used without the augment carry an injunctive sense.\n\nThe augment originally appears to have been a separate word, with the potential meaning of 'there, then', which in time got fused to the verb. The augment is in PIE (é- in Greek, á- in Sanskrit) and always bears the accent.\n\nGreek\nThe predominant scholarly view on the prehistory of the augment is that it was originally a separate particle, although dissenting opinions have occasionally been voiced.\n\nHomeric Greek\nIn Homer, past-tense (aorist or imperfect) verbs appeared both with and without an augment.\nhṑs pháto — hṑs éphato\"so he/she said\"\nêmos d' ērigéneia phánē rhododáktulos Ēṓs,\"And when rose-fingered Dawn appeared, early-born,\"\n\nAncient Greek\nIn Ancient Greek, the verb λέγω légo \"I say\" has the aorist ἔλεξα élexa \"I said.\" The initial ε e is the augment. When it comes before a consonant, it is called the \"syllabic augment\" because it adds a syllable. Sometimes the syllabic augment appears before a vowel because the initial consonant of the verbal root (usually digamma) was lost:\n *έ-ϝιδον *é-widon → (loss of digamma) *ἔιδον *éidon → (synaeresis) εἶδον eîdon\n\nWhen the augment is added before a vowel, the augment and the vowel are contracted and the vowel becomes long: ἀκούω akoúō \"I hear\", ἤκουσα ḗkousa \"I heard\". It is sometimes called the \"temporal augment\" because it increases the time needed to pronounce the vowel.\n\nModern Greek\nUnaccented syllabic augment disappeared during the Byzantine period as a result of the loss of unstressed initial syllables. However, accented syllabic augments have remained in place. So Ancient ἔλυσα, ἐλύσαμεν (élūsa, elū́samen) \"I loosened, we loosened\" corresponds to Modern έλυσα, λύσαμε (élisa, lísame). The temporal augment has not survived in the vernacular, which leaves the initial vowel unaltered: Ancient ἀγαπῶ, ἠγάπησα (agapô, ēgápēsa) \"I love, I loved\"; Modern αγαπώ, αγάπησα (agapó, agápisa).\n\nSanskrit\n\nThe augment is used in Sanskrit to form the imperfect, aorist, pluperfect and conditional. When the verb has a prefix, the augment always sits between the prefix and the root. The following examples of verb forms in the third-person singular illustrate the phenomenon:\n\nWhen the root starts with any of the vowels i-, u- or ṛ, the vowel is subject not to guṇa but vṛddhi.\n\n icch·á·ti -> aí·cch·a·t\n urṇó·ti -> aú·rṇo·t\n ṛdh·nó·ti -> ā́r·dh·no·t\n\nOther\n Phrygian seems to have had an augment. \n Classical Armenian had an augment, in the form of e-.\n Yaghnobi, an East Iranian language spoken in Tajikistan, has an augment.\n\nConstructed languages\nIn J. R. R. Tolkien's Quenya, the repetition of the first vowel before the perfect (for instance utúlië, perfect tense of túlë, \"come\") is reminiscent of the Indo-European augment in both form and function, and is referred to by the same name in Tolkien's grammar of the language.\n\nSee also\n\nSanskrit verbs\nAncient Greek verbs\nProto-Indo-European verbs\n\nNotes\n\nReferences\n\nBibliography\n \n \n \n \n\nIndo-European linguistics\nLinguistic morphology\nGreek grammar\nPhonology",
"Kenneth G. McLeod (born 1962) is a Christian apologist, radio talk show host, teacher, writer and founder of the Christian apologetics ministry: Faith Worth Defending. He is an Evangelical Christian and the author of A Well Reasoned Faith: A Rational Defense of God, Jesus and the Bible; Evidence for Skeptics: Answering the biggest Challenges to Christianity; College Christian: How to get your college degree without losing your Christian faith, and other titles.\n\nFamily and education\nKenneth G. McLeod was born in Mobile, Alabama in 1962. He was one of two children born to Frankie and Bettie McLeod. He was an average student in school and did not become interested in education until his senior year of high school. After graduating from Mary G. Montgomery High School, McLeod studied electronics engineering and began a career in the technology industry. Restless to get back into school, he completed two master's degrees, one in business and one in education. After almost 20 years of the corporate world, he started a career in teaching. After a few years teaching mathematics at the high school and university level, he completed a PhD in education from the University of Southern Mississippi. Shortly after, he studied Christian apologetics at Biola University and became a member of the International Society of Christian Apologetics. In 2013, McLeod founded Faith Worth Defending Apologetics Ministry.\n\nCareer and Ministry\nAccording to McLeod, he was converted to Christianity at a young age, but began to see conflicts in science and his faith in the area of evolutionary biology. To reconcile this apparent conflict, he began a study of Christian apologetics in the early ‘90s. As a result of this study, he began a lifelong passion for apologetics, as well as a passion for helping others work through doubts about the validity of Christianity. He has been a guest speaker at churches and universities.\n\nApologetic Arguments \nMcLeod’s writings center on arguments for the existence of God, the legitimacy of Christianity as the only path to God, and the authenticity of the Bible. In A Well Reasoned Faith: A Rational Defense of God, Jesus and the Bible (2011), arguments for the existence of God are made on the cosmological, teleological and moral arguments. Arguments for Christianity are made using logical reasoning, historical evidence, eyewitness testimony, and archaeology. Arguments for the authenticity of the bible come from applying the bibliographical, internal and external tests.\n\nWorks by McLeod\nThe Prize (2010)\nA Well Reasoned Faith: A Rational Defense of God, Jesus and the Bible (2012)\nEvidence for Skeptics: Answering the Biggest Challenges to Christianity (2013)\nFaith Worth Defending: A 12-Week Christian Apologetics Course (2013)\nCollege Christian: How to get your college degree without losing your Christian faith (2014)\nFaith Worth Defending: How to Defend your Christian Faith in a Skeptical Culture (2014)\n\nReferences\n\nExternal links\n Official Site\n\n1962 births\nLiving people\nAmerican sermon writers\nChristian apologists\nAmerican Christian creationists\nChristian writers"
] |
[
"Irving Fisher",
"Utility theory",
"When did he come up with utility theory?",
"James Tobin argued that the intellectual breakthroughs that marked the neoclassical revolution in economics occurred in Europe around 1870.",
"What are the features of this theory?",
"In reviewing the history of utility theory, economist George Stigler wrote that Fisher's doctoral thesis had been \"brilliant\"",
"Did he get more reviews?",
"\" While his published work exhibited an unusual degree of mathematical sophistication for an economist of his day,",
"Where was he when he came up with the theory?",
"I don't know.",
"Are there any other interesting aspects about this article?",
"While his published work exhibited an unusual degree of mathematical sophistication for an economist of his day, Fisher always sought to bring his analysis to life",
"How did he do that?",
"possible. For instance, to complement the arguments in his doctoral thesis,",
"How did he augment the arguments?",
"he built an elaborate hydraulic machine with pumps and levers, allowing him to demonstrate visually how the equilibrium prices in the market"
] |
C_9a075f891b624597bc36f3a999fcbddd_0
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How was his works received by others?
| 8 |
How was Irving Fisher's work on utility theory received by others?
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Irving Fisher
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James Tobin argued that the intellectual breakthroughs that marked the neoclassical revolution in economics occurred in Europe around 1870. The next two decades witnessed lively debates, which led to the new theory being more or less incorporated into the classical tradition that preceded it. In the 1890s, according to Joseph A. Schumpeter there emerged A large expanse of common ground and ... a feeling of repose, both of which created, in the superficial observer, an impression of finality - the finality of a Greek temple that spreads its perfect lines against a cloudless sky. Of course, Tobin argues, the temple was by no means complete. Its building and decoration continue to this day, even while its faithful throngs worship within. American economists were not present at the creation. To a considerable extent they built their own edifice independently, designing some new architecture in the process. They participated actively in the international controversies and syntheses of the period 1870-1914. At least two Americans were prominent builders of the "temple," John Bates Clark and Irving Fisher. They and others brought neoclassical theory into American journals, classrooms, and textbooks, and its analytical tools into the kits of researchers and practitioners. Eventually, for better or worse, their paradigm would dominate economic science in this country. In reviewing the history of utility theory, economist George Stigler wrote that Fisher's doctoral thesis had been "brilliant" and stressed that it contained "the first careful examination of the measurability of the utility function and its relevance to demand theory." While his published work exhibited an unusual degree of mathematical sophistication for an economist of his day, Fisher always sought to bring his analysis to life and to present his theories as lucidly as possible. For instance, to complement the arguments in his doctoral thesis, he built an elaborate hydraulic machine with pumps and levers, allowing him to demonstrate visually how the equilibrium prices in the market adjusted in response to changes in supply or demand. CANNOTANSWER
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CANNOTANSWER
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Irving Fisher (February 27, 1867 – April 29, 1947) was an American economist, statistician, inventor, eugenicist and progressive social campaigner. He was one of the earliest American neoclassical economists, though his later work on debt deflation has been embraced by the post-Keynesian school. Joseph Schumpeter described him as "the greatest economist the United States has ever produced", an assessment later repeated by James Tobin and Milton Friedman.
Fisher made important contributions to utility theory and general equilibrium. He was also a pioneer in the rigorous study of intertemporal choice in markets, which led him to develop a theory of capital and interest rates. His research on the quantity theory of money inaugurated the school of macroeconomic thought known as "monetarism". Fisher was also a pioneer of econometrics, including the development of index numbers. Some concepts named after him include the Fisher equation, the Fisher hypothesis, the international Fisher effect, the Fisher separation theorem and Fisher market.
Fisher was perhaps the first celebrity economist, but his reputation during his lifetime was irreparably harmed by his public statement, just nine days before the Wall Street Crash of 1929, that the stock market had reached "a permanently high plateau". His subsequent theory of debt deflation as an explanation of the Great Depression, as well as his advocacy of full-reserve banking and alternative currencies, were largely ignored in favor of the work of John Maynard Keynes. Fisher's reputation has since recovered in academic economics, particularly after his theoretical models were rediscovered in the late 1960s to the 1970s, a period of increasing reliance on mathematical models within the field. Interest in him has also grown in the public due to an increased interest in debt deflation after the Great Recession.
Fisher was one of the foremost proponents of the full-reserve banking, which he advocated as one of the authors of A Program for Monetary Reform where the general proposal is outlined.
Biography
Fisher was born in Saugerties, New York. His father was a teacher and a Congregational minister, who raised his son to believe he must be a useful member of society. Despite being raised in religious family, he later on became an atheist. As a child, he had remarkable mathematical ability and a flair for invention. A week after he was admitted to Yale College his father died, at age 53. Irving then supported his mother, brother, and himself, mainly by tutoring. He graduated first in his class with a B.A degree in 1888, having also been elected as a member of the Skull and Bones society.
In 1891, Fisher received the first Ph.D. in economics granted by Yale. His faculty advisors were the theoretical physicist Willard Gibbs and the sociologist William Graham Sumner. As a student, Fisher had shown particular talent and inclination for mathematics, but he found that economics offered greater scope for his ambition and social concerns. His thesis, published by Yale in 1892 as Mathematical Investigations in the Theory of Value and Prices, was a rigorous development of the theory of general equilibrium. When he began writing the thesis, Fisher had not been aware that Léon Walras and his continental European disciples had already covered similar ground. Nonetheless, Fisher's work was a very significant contribution and was immediately recognized and praised as first-rate by such European masters as Francis Edgeworth.
After graduating from Yale, Fisher studied in Berlin and Paris. From 1890 onward, he remained at Yale, first as a tutor, then after 1898 as a professor of political economy, and after 1935 as professor emeritus. He edited the Yale Review from 1896 to 1910 and was active in many learned societies, institutes, and welfare organizations. He was president of the American Economic Association in 1918. The American Mathematical Society selected him as its Gibbs Lecturer for 1929. A leading early proponent of econometrics, in 1930 he founded, with Ragnar Frisch and Charles F. Roos the Econometric Society, of which he was the first president.
Fisher was a prolific writer, producing journalism as well as technical books and articles, and addressing various social issues surrounding the First World War, the prosperous 1920s and the depressed 1930s. He made several practical inventions, the most notable of which was an "index visible filing system" which he patented in 1913 and sold to Kardex Rand (later Remington Rand) in 1925. This, and his subsequent stock investments, made him a wealthy man until his personal finances were badly hit by the Crash of 1929.
Fisher was also an active social and health campaigner, as well as an advocate of vegetarianism, prohibition, and eugenics. In 1893, he married Margaret Hazard, a granddaughter of Rhode Island industrialist and social reformer Rowland G. Hazard. He died of inoperable colon cancer in New York City in 1947, at the age of 80.
Economic theories
Utility theory
James Tobin, writing on the contributions of John Bates Clark and Irving Fisher to neoclassical theory in America argues that American economists contributed in their own way to the preparation of a common ground after the neoclassical revolution. In particular Clark and Irving Fisher “brought neoclassical theory into American journals, classrooms, and textbooks, and its analytical tools into the kits of researchers and practitioners.” Already in his doctoral thesis, “Fisher expounds thoroughly the mathematics of utility functions and their maximization, and he is careful to allow for corner solutions.” Already then, Fisher “states clearly that neither interpersonally comparable utility nor cardinal utility for each individual is necessary to the determination of equilibrium."
In reviewing the history of utility theory, economist George Stigler wrote that Fisher's doctoral thesis had been "brilliant" and stressed that it contained "the first careful examination of the measurability of the utility function and its relevance to demand theory." While his published work exhibited an unusual degree of mathematical sophistication for an economist of his day, Fisher always sought to bring his analysis to life and to present his theories as lucidly as possible. For instance, to complement the arguments in his doctoral thesis, he built an elaborate hydraulic machine with pumps and levers, allowing him to demonstrate visually how the equilibrium prices in the market adjusted in response to changes in supply or demand.
Interest and capital
Fisher is probably best remembered today in neoclassical economics for his theory of capital, investment, and interest rates, first exposited in his The Nature of Capital and Income (1906) and elaborated on in The Rate of Interest (1907). His 1930 treatise, The Theory of Interest, summed up a lifetime's research into capital, capital budgeting, credit markets, and the factors (including inflation) that determine interest rates.
Fisher saw that subjective economic value is not only a function of the amount of goods and services owned or exchanged, but also of the moment in time when they are purchased with money. A good available now has a different value than the same good available at a later date; value has a time as well as a quantity dimension. The relative price of goods available at a future date, in terms of goods sacrificed now, is measured by the interest rate. Fisher made free use of the standard diagrams used to teach undergraduate economics, but labeled the axes "consumption now" and "consumption next period" (instead of the usual schematic alternatives of "apples" and "oranges"). The resulting theory, one of considerable power and insight, was presented in detail in The Theory of Interest.
This model, later generalized to the case of K goods and N periods (including the case of infinitely many periods) has become a standard theory of capital and interest, and is described in Gravelle and Rees, and Aliprantis, Brown, and Burkinshaw. This theoretical advance is explained in Hirshleifer.
Fisher saw that the economic policy of what he did for his theory for was something that was making an impact on society as a whole. He was seen as the “greatest American economist of his time”, taking the skills of what he learned in mathematics and decided to incorporate it into economics for the greater good of the field of study. Once he brought out his Quantity Theory of Money, it started to take economic models and bring more of a life to them in the aspects of the mathematics included with it. With addressing models have the different axes labeled, there has been so much that he has contributed to the economic world. One of the strongest points that Fisher brings out in discussing interest rates was the power of impatience and time. When examining how a certain item can be valued during a point of time, then seeing how much it is in a different time, justified by interest, speaks out volumes of what is happening in the world. The impatience of humans with their nature of not wanting to wait for certain items speaks out to what is going in, with relations to interest rates. When an individual begins to wait, there is much that happens in relations with the interest rates. Overall, it becomes more of a monetary value that humans end up going for with not waiting for purchase something in the different period instead of the current. At the end, Fisher has left a huge impact the world on economics.
Monetary economics
Fisher's research into the basic theory of prices and interest rates did not touch directly on the great social issues of the day. On the other hand, his monetary economics did and this grew to be the main focus of Fisher's mature work.
It was Fisher who (following the pioneering work of Simon Newcomb) formulated the quantity theory of money in terms of the "equation of exchange:" Let M be the total stock of money, P the price level, T the amount of transactions carried out using money, and V the velocity of circulation of money, so that
Later economists replaced T by the real output Y (or Q), usually quantified by the real Gross domestic product (GDP).
Fisher's Appreciation and Interest was an abstract analysis of the behavior of interest rates when the price level is changing. It emphasized the distinction between real and nominal interest rates:
where is the real interest rate, is the nominal interest rate, and the inflation is a measure of the increase in the price level. When inflation is sufficiently low, the real interest rate can be approximated as the nominal interest rate minus the expected inflation rate. The resulting equation is known as the Fisher equation in his honor.
Fisher believed that investors and savers – people in general – were afflicted in varying degrees by "money illusion"; they could not see past the money to the goods the money could buy. In an ideal world, changes in the price level would have no effect on production or employment. In the actual world with money illusion, inflation (and deflation) did serious harm. For more than forty years, Fisher elaborated his vision of the damaging "dance of the dollar" and devised various schemes to "stabilize" money, i.e. to stabilize the price level. He was one of the first to subject macroeconomic data, including the money stock, interest rates, and the price level, to statistical analyses and tests. In the 1920s, he introduced the technique later called distributed lags. In 1973, the Journal of Political Economy posthumously reprinted his 1926 paper on the statistical relation between unemployment and inflation, retitling it as "I discovered the Phillips curve". Index numbers played an important role in his monetary theory, and his book The Making of Index Numbers has remained influential down to the present day.
Fisher's main intellectual rival was the Swedish economist Knut Wicksell. Fisher espoused a more succinct explanation of the quantity theory of money, resting it almost exclusively on long run prices. Wicksell's theory was considerably more complicated, beginning with interest rates in a system of changes in the real economy. Although both economists concluded from their theories that at the heart of the business cycle (and economic crisis) was government monetary policy, their disagreement would not be solved in their lifetimes, and indeed, it was inherited by the policy debates between the Keynesians and monetarists beginning a half-century later.
Debt-deflation
Following the stock market crash of 1929, and in light of the ensuing Great Depression, Fisher developed a theory of economic crises called debt-deflation, which attributed the crises to the bursting of a credit bubble. Initially, during the upswing over-confident economic agents are lured by the prospect of high profits to increase their debt in order to leverage their gains. According to Fisher, once the credit bubble bursts, this unleashes a series of effects that have serious negative impact on the real economy:
Debt liquidation and distress selling.
Contraction of the money supply as bank loans are paid off.
A fall in the level of asset prices.
A still greater fall in the net worth of businesses, precipitating bankruptcies.
A fall in profits.
A reduction in output, in trade and in employment.
Pessimism and loss of confidence.
Hoarding of money.
A fall in nominal interest rates and a rise in deflation-adjusted interest rates.
Crucially, as debtors try to liquidate or pay off their nominal debt, the fall of prices caused by this defeats the very attempt to reduce the real burden of debt. Thus, while repayment reduces the amount of money owed, this does not happen fast enough since the real value of the dollar now rises ('swelling of the dollar').
This theory was largely ignored in favor of Keynesian economics, in part because of the damage to Fisher's reputation caused by his public optimism about the stock market, just prior to the crash. Debt-deflation has experienced a revival of mainstream interest since the 1980s, and particularly with the Late-2000s recession. Steve Keen predicted the 2008 recession by using Hyman Minsky's further development of Fisher's work on debt-deflation. Debt-deflation is now the major theory with which Fisher's name is associated.
Stock market crash of 1929
The stock market crash of 1929 and the subsequent Great Depression cost Fisher much of his personal wealth and academic reputation. He famously predicted, nine days before the crash, that stock prices had "reached what looks like a permanently high plateau." Irving Fisher stated on October 21 that the market was "only shaking out of the lunatic fringe" and went on to explain why he felt the prices still had not caught up with their real value and should go much higher. On Wednesday, October 23, he announced in a banker's meeting "security values in most instances were not inflated." For months after the Crash, he continued to assure investors that a recovery was just around the corner. Once the Great Depression was in full force, he did warn that the ongoing drastic deflation was the cause of the disastrous cascading insolvencies then plaguing the American economy because deflation increased the real value of debts fixed in dollar terms. Fisher was so discredited by his 1929 pronouncements and by the failure of a firm he had started that few people took notice of his "debt-deflation" analysis of the Depression. People instead eagerly turned to the ideas of Keynes. Fisher's debt-deflation scenario has since seen a revival since the 1980s.
Constructive Income Taxation
Lawrence Lokken, the University of Miami School of Law professor of economics, credits
Fisher's 1942 book with the concept behind the Unlimited Savings Accumulation Tax, a reform introduced in the United States Senate in 1995 by Senator Pete Domenici (R-New Mexico), former Senator Sam Nunn (D-Georgia), and Senator Bob Kerrey (D-Nebraska). The concept was that unnecessary spending (which is hard to define in a law) can be taxed by taxing income minus all net investments and savings, and minus an allowance for essential purchases, thus making funds available for investment.
Social and health campaigns
In 1898, Fisher was diagnosed with tuberculosis, the same disease that had killed his father. He spent three years in sanatoria, finally making a full recovery. That experience sparked in him a vocation as a health campaigner. He was one of the founders of the Life Extension Institute, under whose auspices he co-authored the bestselling book How to Live: Rules for Healthful Living Based on Modern Science, published in 1915. He advocated regular exercise and the avoidance of red meat, tobacco, and alcohol. In 1924, Fisher wrote an anti-smoking article for the Reader's Digest, which argued that "tobacco lowers the whole tone of the body and decreases its vital power and resistance ... [it] acts like a narcotic poison, like opium and like alcohol, though usually in a less degree".
Fisher supported the legal prohibition of alcohol and wrote three booklets defending prohibition in the United States on grounds of public health and economic productivity. As a proponent of Eugenics he helped found the Race Betterment Foundation in 1906. He also defended eugenics, serving in the scientific advisory board of the Eugenics Record Office and as first president of the American Eugenics Society.
When his daughter Margaret was diagnosed with schizophrenia, Fisher had her treated at the New Jersey State Hospital at Trenton, whose director was the psychiatrist Henry Cotton. Cotton believed in a "focal sepsis" theory, according to which mental illness resulted from infectious material in the roots of teeth, bowel recesses, and other places in the body. Cotton also claimed that surgical removal of the infected tissue could alleviate the patient's mental disorder. At Trenton, Margaret Fisher had sections of her bowel and colon removed, which eventually resulted in her death. Irving Fisher nonetheless remained convinced of the validity of Cotton's treatment.
Selected publications
Fisher, Irving Norton, 1961. A Bibliography of the Writings of Irving Fisher (1961). Compiled by Fisher's son; contains 2425 entries.
Primary
1892. Mathematical Investigations in the Theory of Value and Prices. Scroll to chapter links.
1896. Appreciation and Interest. Link.
1906. The Nature of Capital and Income. Scroll to chapter links.
1907. The Rate of Interest. Extracts from Preface and Appendix to ch. VII.
1910, 1914. Introduction to Economic Science. Section links.
1911a, 1922, 2nd ed. The Purchasing Power of Money: Its Determination and Relation to Credit, Interest, and Crises. Scroll to chapter links from Library of Economics and Liberty (LE&L). Full text of 1920 edition online via FRASER
1911b, 1913. Elementary Principles of Economics. Scroll to chapter links.
1915. How to Live: Rules for Healthful Living Based on Modern Science (with Eugene Lyon Fisk). Link.
1918, "Is 'Utility' the Most Suitable Term for the Concept It is Used to Denote?" American Economic Review, pp. 335–37]. Reprint.
1921a. "Dollar Stabilization," Encyclopædia Britannica 12th ed.. XXX, pp. 852–853. Reprint page links from LE&L.
1921b, The Best Form of Index Number, American Statistical Association Quarterly. 17(133), pp. pp. 533–537.
1922. The Making of Index Numbers: A Study of Their Varieties, Tests, and Reliability. Scroll to chapter links,
1923, "The Business Cycle Largely a 'Dance of the Dollar'," Journal of the American Statistical Association, 18, pp. 1024–28. Link.
1926, "A Statistical Relation between Unemployment and Price Changes," International Labour Review, 13(6), p pp. 785–92. Reprinted as 1973, "I Discovered the Phillips Curve: A Statistical Relation between Unemployment and Price Changes'," Journal of Political Economy, 81(2, Part 1), p pp. 496–502.
1927, "A Statistical Method for Measuring 'Marginal Utility' and Testing the Justice of a Progressive Income Tax" in Economic Essays Contributed in Honor of John Bates Clark .
1928, The Money Illusion, New York: Adelphi Company. Scroll to chapter-preview links.
1930a. The Stock Market Crash and After.
1930b. The Theory of Interest. Chapter I. Chapter links, each numbered by paragraph via LE&L.
1932. Booms and Depressions: Some First Principles. full text online via FRASER.
1933b. Stamp Scrip. full text online
1935. 100% Money. full text online
1942. "Constructive Income Taxation: A Proposal for Reform." New York: Harper & Brothers.
1996. The Works of Irving Fisher. edited by William J. Barber et al. 14 volumes London : Pickering & Chatto.
See also
Chicago plan
Eugenics in the United States
Ham and Eggs Movement, California pension reform plan, 1938–40
Library of Economics and Liberty
Marginalism
Milton Friedman
2018 Swiss sovereign-money initiative
References
Further reading
Allen, Robert Loring (1993). Irving Fisher: A Biography
Dimand, Robert W. (2020). "J. Laurence Laughlin versus Irving Fisher on the quantity theory of money, 1894 to 1913." Oxford Economic Papers
Dimand, Robert W. (2003). "Irving Fisher on the International Transmission of Booms and Depressions through Monetary Standards." Journal of Money, Credit & Banking. Vol: 35#1 pp 49+. online edition
Dimand, Robert W. (1993). "The Dance of the Dollar: Irving Fisher's Monetary Theory of Economic Fluctuations," History of Economics Review 20:161–172.
Dimand, Robert W. (1994). "Irving Fisher's Debt-Deflation Theory of Great Depressions," Review of Social Economy 52:92–107
Dimand, Robert W., and Geanakoplos, John (2005). "Celebrating Irving Fisher: The Legacy of a Great Economist" American Journal of Economics & Sociology, Jan 2005, Vol. 64 Issue 1, pp. 3–18
(1958). The Economic Mind in American Civilization, vol. 3.
Fellner, William, ed. (1967). Ten Economic Studies in the Tradition of Irving Fisher
Fisher, Irving Norton (1956). My Father Irving Fisher.
Schumpeter, Joseph (1951). Ten Great Economists: 222–38.
Schumpeter, Joseph (1954). A History of Economic Analysis (1954)
Thaler, Richard (1999). "Irving Fisher: Behavioral Economist," American Economic Review.
Tobin, James (1987). "Fisher, Irving," The New Palgrave: A Dictionary of Economics, Vol. 2: 369–76. Reprinted in American Journal of Economics and Sociology, Jan, 2005, 17 pages.
Tobin, James (1985). "Neoclassical Theory in America: J. B. Clark and Fisher" American Economic Review (Dec 1985) vol 75#6 pp. 28–38 in JSTOR
External links
Archive for the History of Economic Thought at McMaster University
New School for Social Research website:
Irving Fisher, 1867–1947. Includes a photograph of the young Fisher. For a photograph of the older man, see Irving Fisher on the Portraits of Statisticians page.
Irving Fisher's Theory of Investment.
Irving Fisher Papers (MS 212). Manuscripts and Archives, Yale University Library.
Herbert Scarf, William C.Brainard, "How to Compute Equilibrium Prices in 1891". Cowles Foundation Discussion Paper 1272, August 2000 – for the description of Fisher's hydraulic apparatus.
Works by or about Irving Fisher on FRASER
American atheists
Economists from New York (state)
American statisticians
Neoclassical economists
1867 births
1947 deaths
American temperance activists
Activists from New York (state)
Tobacco researchers
American eugenicists
Presidents of the American Economic Association
Presidents of the American Statistical Association
Fellows of the Econometric Society
Presidents of the Econometric Society
Yale University alumni
People from Saugerties, New York
19th-century economists
20th-century American economists
Mathematicians from New York (state)
| false |
[
"The Stone-Country is a 1967 novel by South African novelist Alex La Guma. The novel is set in a prison, and explores how one prisoner inspires others to pursue anti-apartheid politics. It was the last novel La Guma was able to write before his exile from South Africa. The novel was later republished as part of the influential African Writers Series in 1974.\n\nReferences\n\nFurther reading \n \n\n20th-century South African novels\n1967 novels\nApartheid novels\nAfrican Writers Series\nWorks by Alex La Guma",
"Hope is a 1470 oil on panel painting by Piero del Pollaiolo, now in the Uffizi in Florence.\n\nHistory\nFlorence's Tribunale della Mercanzia (the body overseeing all the city's guilds) commissioned the artist to paint seven works portraying the cardinal virtues in a contract dated 18 August 1469. They were intended to decorated the seat-backs in its audience hall on piazza della Signoria. Charity was the first painting to be completed and was delivered in December 1469.\n\nThe commission was temporarily transferred to Botticelli, probably after a delay by Pollaiolo. Botticelli produced Fortitude before loud protests from Pollaiolo and his brother Antonio led to a second contract returning the commission to Piero and his studio to produce the remaining six works in the series. In completing it, it is unclear how much of a contribution Antonio made to Piero's work and some art historians have attributed it instead entirely to Antonio. Billi, Albertini and Cruttwell argue from documents that the whole cycle was by Piero, whereas Ullman and others attribute all six works to Antonio based on stylistic comparisons with the few signed works by Antonio, including prints. Yet others attribute the composition of the work to Antonio but the paintings themselves to Piero.\n\nAfter the magistracy moved into the Uffizi, the paintings were exhibited in the gallery from 1717 onwards after the Tribunale was suppressed. In the 19th century the works were in such a poor state of conservation that only Prudence was exhibited.\n\nReferences\n\n15th-century allegorical paintings\nAllegorical paintings by Italian artists\nPaintings by Piero del Pollaiolo\nPaintings in the collection of the Uffizi\n1470 paintings"
] |
[
"Irving Fisher",
"Utility theory",
"When did he come up with utility theory?",
"James Tobin argued that the intellectual breakthroughs that marked the neoclassical revolution in economics occurred in Europe around 1870.",
"What are the features of this theory?",
"In reviewing the history of utility theory, economist George Stigler wrote that Fisher's doctoral thesis had been \"brilliant\"",
"Did he get more reviews?",
"\" While his published work exhibited an unusual degree of mathematical sophistication for an economist of his day,",
"Where was he when he came up with the theory?",
"I don't know.",
"Are there any other interesting aspects about this article?",
"While his published work exhibited an unusual degree of mathematical sophistication for an economist of his day, Fisher always sought to bring his analysis to life",
"How did he do that?",
"possible. For instance, to complement the arguments in his doctoral thesis,",
"How did he augment the arguments?",
"he built an elaborate hydraulic machine with pumps and levers, allowing him to demonstrate visually how the equilibrium prices in the market",
"How was his works received by others?",
"I don't know."
] |
C_9a075f891b624597bc36f3a999fcbddd_0
|
How was this theory implemented?
| 9 |
How was utility theory implemented?
|
Irving Fisher
|
James Tobin argued that the intellectual breakthroughs that marked the neoclassical revolution in economics occurred in Europe around 1870. The next two decades witnessed lively debates, which led to the new theory being more or less incorporated into the classical tradition that preceded it. In the 1890s, according to Joseph A. Schumpeter there emerged A large expanse of common ground and ... a feeling of repose, both of which created, in the superficial observer, an impression of finality - the finality of a Greek temple that spreads its perfect lines against a cloudless sky. Of course, Tobin argues, the temple was by no means complete. Its building and decoration continue to this day, even while its faithful throngs worship within. American economists were not present at the creation. To a considerable extent they built their own edifice independently, designing some new architecture in the process. They participated actively in the international controversies and syntheses of the period 1870-1914. At least two Americans were prominent builders of the "temple," John Bates Clark and Irving Fisher. They and others brought neoclassical theory into American journals, classrooms, and textbooks, and its analytical tools into the kits of researchers and practitioners. Eventually, for better or worse, their paradigm would dominate economic science in this country. In reviewing the history of utility theory, economist George Stigler wrote that Fisher's doctoral thesis had been "brilliant" and stressed that it contained "the first careful examination of the measurability of the utility function and its relevance to demand theory." While his published work exhibited an unusual degree of mathematical sophistication for an economist of his day, Fisher always sought to bring his analysis to life and to present his theories as lucidly as possible. For instance, to complement the arguments in his doctoral thesis, he built an elaborate hydraulic machine with pumps and levers, allowing him to demonstrate visually how the equilibrium prices in the market adjusted in response to changes in supply or demand. CANNOTANSWER
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CANNOTANSWER
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Irving Fisher (February 27, 1867 – April 29, 1947) was an American economist, statistician, inventor, eugenicist and progressive social campaigner. He was one of the earliest American neoclassical economists, though his later work on debt deflation has been embraced by the post-Keynesian school. Joseph Schumpeter described him as "the greatest economist the United States has ever produced", an assessment later repeated by James Tobin and Milton Friedman.
Fisher made important contributions to utility theory and general equilibrium. He was also a pioneer in the rigorous study of intertemporal choice in markets, which led him to develop a theory of capital and interest rates. His research on the quantity theory of money inaugurated the school of macroeconomic thought known as "monetarism". Fisher was also a pioneer of econometrics, including the development of index numbers. Some concepts named after him include the Fisher equation, the Fisher hypothesis, the international Fisher effect, the Fisher separation theorem and Fisher market.
Fisher was perhaps the first celebrity economist, but his reputation during his lifetime was irreparably harmed by his public statement, just nine days before the Wall Street Crash of 1929, that the stock market had reached "a permanently high plateau". His subsequent theory of debt deflation as an explanation of the Great Depression, as well as his advocacy of full-reserve banking and alternative currencies, were largely ignored in favor of the work of John Maynard Keynes. Fisher's reputation has since recovered in academic economics, particularly after his theoretical models were rediscovered in the late 1960s to the 1970s, a period of increasing reliance on mathematical models within the field. Interest in him has also grown in the public due to an increased interest in debt deflation after the Great Recession.
Fisher was one of the foremost proponents of the full-reserve banking, which he advocated as one of the authors of A Program for Monetary Reform where the general proposal is outlined.
Biography
Fisher was born in Saugerties, New York. His father was a teacher and a Congregational minister, who raised his son to believe he must be a useful member of society. Despite being raised in religious family, he later on became an atheist. As a child, he had remarkable mathematical ability and a flair for invention. A week after he was admitted to Yale College his father died, at age 53. Irving then supported his mother, brother, and himself, mainly by tutoring. He graduated first in his class with a B.A degree in 1888, having also been elected as a member of the Skull and Bones society.
In 1891, Fisher received the first Ph.D. in economics granted by Yale. His faculty advisors were the theoretical physicist Willard Gibbs and the sociologist William Graham Sumner. As a student, Fisher had shown particular talent and inclination for mathematics, but he found that economics offered greater scope for his ambition and social concerns. His thesis, published by Yale in 1892 as Mathematical Investigations in the Theory of Value and Prices, was a rigorous development of the theory of general equilibrium. When he began writing the thesis, Fisher had not been aware that Léon Walras and his continental European disciples had already covered similar ground. Nonetheless, Fisher's work was a very significant contribution and was immediately recognized and praised as first-rate by such European masters as Francis Edgeworth.
After graduating from Yale, Fisher studied in Berlin and Paris. From 1890 onward, he remained at Yale, first as a tutor, then after 1898 as a professor of political economy, and after 1935 as professor emeritus. He edited the Yale Review from 1896 to 1910 and was active in many learned societies, institutes, and welfare organizations. He was president of the American Economic Association in 1918. The American Mathematical Society selected him as its Gibbs Lecturer for 1929. A leading early proponent of econometrics, in 1930 he founded, with Ragnar Frisch and Charles F. Roos the Econometric Society, of which he was the first president.
Fisher was a prolific writer, producing journalism as well as technical books and articles, and addressing various social issues surrounding the First World War, the prosperous 1920s and the depressed 1930s. He made several practical inventions, the most notable of which was an "index visible filing system" which he patented in 1913 and sold to Kardex Rand (later Remington Rand) in 1925. This, and his subsequent stock investments, made him a wealthy man until his personal finances were badly hit by the Crash of 1929.
Fisher was also an active social and health campaigner, as well as an advocate of vegetarianism, prohibition, and eugenics. In 1893, he married Margaret Hazard, a granddaughter of Rhode Island industrialist and social reformer Rowland G. Hazard. He died of inoperable colon cancer in New York City in 1947, at the age of 80.
Economic theories
Utility theory
James Tobin, writing on the contributions of John Bates Clark and Irving Fisher to neoclassical theory in America argues that American economists contributed in their own way to the preparation of a common ground after the neoclassical revolution. In particular Clark and Irving Fisher “brought neoclassical theory into American journals, classrooms, and textbooks, and its analytical tools into the kits of researchers and practitioners.” Already in his doctoral thesis, “Fisher expounds thoroughly the mathematics of utility functions and their maximization, and he is careful to allow for corner solutions.” Already then, Fisher “states clearly that neither interpersonally comparable utility nor cardinal utility for each individual is necessary to the determination of equilibrium."
In reviewing the history of utility theory, economist George Stigler wrote that Fisher's doctoral thesis had been "brilliant" and stressed that it contained "the first careful examination of the measurability of the utility function and its relevance to demand theory." While his published work exhibited an unusual degree of mathematical sophistication for an economist of his day, Fisher always sought to bring his analysis to life and to present his theories as lucidly as possible. For instance, to complement the arguments in his doctoral thesis, he built an elaborate hydraulic machine with pumps and levers, allowing him to demonstrate visually how the equilibrium prices in the market adjusted in response to changes in supply or demand.
Interest and capital
Fisher is probably best remembered today in neoclassical economics for his theory of capital, investment, and interest rates, first exposited in his The Nature of Capital and Income (1906) and elaborated on in The Rate of Interest (1907). His 1930 treatise, The Theory of Interest, summed up a lifetime's research into capital, capital budgeting, credit markets, and the factors (including inflation) that determine interest rates.
Fisher saw that subjective economic value is not only a function of the amount of goods and services owned or exchanged, but also of the moment in time when they are purchased with money. A good available now has a different value than the same good available at a later date; value has a time as well as a quantity dimension. The relative price of goods available at a future date, in terms of goods sacrificed now, is measured by the interest rate. Fisher made free use of the standard diagrams used to teach undergraduate economics, but labeled the axes "consumption now" and "consumption next period" (instead of the usual schematic alternatives of "apples" and "oranges"). The resulting theory, one of considerable power and insight, was presented in detail in The Theory of Interest.
This model, later generalized to the case of K goods and N periods (including the case of infinitely many periods) has become a standard theory of capital and interest, and is described in Gravelle and Rees, and Aliprantis, Brown, and Burkinshaw. This theoretical advance is explained in Hirshleifer.
Fisher saw that the economic policy of what he did for his theory for was something that was making an impact on society as a whole. He was seen as the “greatest American economist of his time”, taking the skills of what he learned in mathematics and decided to incorporate it into economics for the greater good of the field of study. Once he brought out his Quantity Theory of Money, it started to take economic models and bring more of a life to them in the aspects of the mathematics included with it. With addressing models have the different axes labeled, there has been so much that he has contributed to the economic world. One of the strongest points that Fisher brings out in discussing interest rates was the power of impatience and time. When examining how a certain item can be valued during a point of time, then seeing how much it is in a different time, justified by interest, speaks out volumes of what is happening in the world. The impatience of humans with their nature of not wanting to wait for certain items speaks out to what is going in, with relations to interest rates. When an individual begins to wait, there is much that happens in relations with the interest rates. Overall, it becomes more of a monetary value that humans end up going for with not waiting for purchase something in the different period instead of the current. At the end, Fisher has left a huge impact the world on economics.
Monetary economics
Fisher's research into the basic theory of prices and interest rates did not touch directly on the great social issues of the day. On the other hand, his monetary economics did and this grew to be the main focus of Fisher's mature work.
It was Fisher who (following the pioneering work of Simon Newcomb) formulated the quantity theory of money in terms of the "equation of exchange:" Let M be the total stock of money, P the price level, T the amount of transactions carried out using money, and V the velocity of circulation of money, so that
Later economists replaced T by the real output Y (or Q), usually quantified by the real Gross domestic product (GDP).
Fisher's Appreciation and Interest was an abstract analysis of the behavior of interest rates when the price level is changing. It emphasized the distinction between real and nominal interest rates:
where is the real interest rate, is the nominal interest rate, and the inflation is a measure of the increase in the price level. When inflation is sufficiently low, the real interest rate can be approximated as the nominal interest rate minus the expected inflation rate. The resulting equation is known as the Fisher equation in his honor.
Fisher believed that investors and savers – people in general – were afflicted in varying degrees by "money illusion"; they could not see past the money to the goods the money could buy. In an ideal world, changes in the price level would have no effect on production or employment. In the actual world with money illusion, inflation (and deflation) did serious harm. For more than forty years, Fisher elaborated his vision of the damaging "dance of the dollar" and devised various schemes to "stabilize" money, i.e. to stabilize the price level. He was one of the first to subject macroeconomic data, including the money stock, interest rates, and the price level, to statistical analyses and tests. In the 1920s, he introduced the technique later called distributed lags. In 1973, the Journal of Political Economy posthumously reprinted his 1926 paper on the statistical relation between unemployment and inflation, retitling it as "I discovered the Phillips curve". Index numbers played an important role in his monetary theory, and his book The Making of Index Numbers has remained influential down to the present day.
Fisher's main intellectual rival was the Swedish economist Knut Wicksell. Fisher espoused a more succinct explanation of the quantity theory of money, resting it almost exclusively on long run prices. Wicksell's theory was considerably more complicated, beginning with interest rates in a system of changes in the real economy. Although both economists concluded from their theories that at the heart of the business cycle (and economic crisis) was government monetary policy, their disagreement would not be solved in their lifetimes, and indeed, it was inherited by the policy debates between the Keynesians and monetarists beginning a half-century later.
Debt-deflation
Following the stock market crash of 1929, and in light of the ensuing Great Depression, Fisher developed a theory of economic crises called debt-deflation, which attributed the crises to the bursting of a credit bubble. Initially, during the upswing over-confident economic agents are lured by the prospect of high profits to increase their debt in order to leverage their gains. According to Fisher, once the credit bubble bursts, this unleashes a series of effects that have serious negative impact on the real economy:
Debt liquidation and distress selling.
Contraction of the money supply as bank loans are paid off.
A fall in the level of asset prices.
A still greater fall in the net worth of businesses, precipitating bankruptcies.
A fall in profits.
A reduction in output, in trade and in employment.
Pessimism and loss of confidence.
Hoarding of money.
A fall in nominal interest rates and a rise in deflation-adjusted interest rates.
Crucially, as debtors try to liquidate or pay off their nominal debt, the fall of prices caused by this defeats the very attempt to reduce the real burden of debt. Thus, while repayment reduces the amount of money owed, this does not happen fast enough since the real value of the dollar now rises ('swelling of the dollar').
This theory was largely ignored in favor of Keynesian economics, in part because of the damage to Fisher's reputation caused by his public optimism about the stock market, just prior to the crash. Debt-deflation has experienced a revival of mainstream interest since the 1980s, and particularly with the Late-2000s recession. Steve Keen predicted the 2008 recession by using Hyman Minsky's further development of Fisher's work on debt-deflation. Debt-deflation is now the major theory with which Fisher's name is associated.
Stock market crash of 1929
The stock market crash of 1929 and the subsequent Great Depression cost Fisher much of his personal wealth and academic reputation. He famously predicted, nine days before the crash, that stock prices had "reached what looks like a permanently high plateau." Irving Fisher stated on October 21 that the market was "only shaking out of the lunatic fringe" and went on to explain why he felt the prices still had not caught up with their real value and should go much higher. On Wednesday, October 23, he announced in a banker's meeting "security values in most instances were not inflated." For months after the Crash, he continued to assure investors that a recovery was just around the corner. Once the Great Depression was in full force, he did warn that the ongoing drastic deflation was the cause of the disastrous cascading insolvencies then plaguing the American economy because deflation increased the real value of debts fixed in dollar terms. Fisher was so discredited by his 1929 pronouncements and by the failure of a firm he had started that few people took notice of his "debt-deflation" analysis of the Depression. People instead eagerly turned to the ideas of Keynes. Fisher's debt-deflation scenario has since seen a revival since the 1980s.
Constructive Income Taxation
Lawrence Lokken, the University of Miami School of Law professor of economics, credits
Fisher's 1942 book with the concept behind the Unlimited Savings Accumulation Tax, a reform introduced in the United States Senate in 1995 by Senator Pete Domenici (R-New Mexico), former Senator Sam Nunn (D-Georgia), and Senator Bob Kerrey (D-Nebraska). The concept was that unnecessary spending (which is hard to define in a law) can be taxed by taxing income minus all net investments and savings, and minus an allowance for essential purchases, thus making funds available for investment.
Social and health campaigns
In 1898, Fisher was diagnosed with tuberculosis, the same disease that had killed his father. He spent three years in sanatoria, finally making a full recovery. That experience sparked in him a vocation as a health campaigner. He was one of the founders of the Life Extension Institute, under whose auspices he co-authored the bestselling book How to Live: Rules for Healthful Living Based on Modern Science, published in 1915. He advocated regular exercise and the avoidance of red meat, tobacco, and alcohol. In 1924, Fisher wrote an anti-smoking article for the Reader's Digest, which argued that "tobacco lowers the whole tone of the body and decreases its vital power and resistance ... [it] acts like a narcotic poison, like opium and like alcohol, though usually in a less degree".
Fisher supported the legal prohibition of alcohol and wrote three booklets defending prohibition in the United States on grounds of public health and economic productivity. As a proponent of Eugenics he helped found the Race Betterment Foundation in 1906. He also defended eugenics, serving in the scientific advisory board of the Eugenics Record Office and as first president of the American Eugenics Society.
When his daughter Margaret was diagnosed with schizophrenia, Fisher had her treated at the New Jersey State Hospital at Trenton, whose director was the psychiatrist Henry Cotton. Cotton believed in a "focal sepsis" theory, according to which mental illness resulted from infectious material in the roots of teeth, bowel recesses, and other places in the body. Cotton also claimed that surgical removal of the infected tissue could alleviate the patient's mental disorder. At Trenton, Margaret Fisher had sections of her bowel and colon removed, which eventually resulted in her death. Irving Fisher nonetheless remained convinced of the validity of Cotton's treatment.
Selected publications
Fisher, Irving Norton, 1961. A Bibliography of the Writings of Irving Fisher (1961). Compiled by Fisher's son; contains 2425 entries.
Primary
1892. Mathematical Investigations in the Theory of Value and Prices. Scroll to chapter links.
1896. Appreciation and Interest. Link.
1906. The Nature of Capital and Income. Scroll to chapter links.
1907. The Rate of Interest. Extracts from Preface and Appendix to ch. VII.
1910, 1914. Introduction to Economic Science. Section links.
1911a, 1922, 2nd ed. The Purchasing Power of Money: Its Determination and Relation to Credit, Interest, and Crises. Scroll to chapter links from Library of Economics and Liberty (LE&L). Full text of 1920 edition online via FRASER
1911b, 1913. Elementary Principles of Economics. Scroll to chapter links.
1915. How to Live: Rules for Healthful Living Based on Modern Science (with Eugene Lyon Fisk). Link.
1918, "Is 'Utility' the Most Suitable Term for the Concept It is Used to Denote?" American Economic Review, pp. 335–37]. Reprint.
1921a. "Dollar Stabilization," Encyclopædia Britannica 12th ed.. XXX, pp. 852–853. Reprint page links from LE&L.
1921b, The Best Form of Index Number, American Statistical Association Quarterly. 17(133), pp. pp. 533–537.
1922. The Making of Index Numbers: A Study of Their Varieties, Tests, and Reliability. Scroll to chapter links,
1923, "The Business Cycle Largely a 'Dance of the Dollar'," Journal of the American Statistical Association, 18, pp. 1024–28. Link.
1926, "A Statistical Relation between Unemployment and Price Changes," International Labour Review, 13(6), p pp. 785–92. Reprinted as 1973, "I Discovered the Phillips Curve: A Statistical Relation between Unemployment and Price Changes'," Journal of Political Economy, 81(2, Part 1), p pp. 496–502.
1927, "A Statistical Method for Measuring 'Marginal Utility' and Testing the Justice of a Progressive Income Tax" in Economic Essays Contributed in Honor of John Bates Clark .
1928, The Money Illusion, New York: Adelphi Company. Scroll to chapter-preview links.
1930a. The Stock Market Crash and After.
1930b. The Theory of Interest. Chapter I. Chapter links, each numbered by paragraph via LE&L.
1932. Booms and Depressions: Some First Principles. full text online via FRASER.
1933b. Stamp Scrip. full text online
1935. 100% Money. full text online
1942. "Constructive Income Taxation: A Proposal for Reform." New York: Harper & Brothers.
1996. The Works of Irving Fisher. edited by William J. Barber et al. 14 volumes London : Pickering & Chatto.
See also
Chicago plan
Eugenics in the United States
Ham and Eggs Movement, California pension reform plan, 1938–40
Library of Economics and Liberty
Marginalism
Milton Friedman
2018 Swiss sovereign-money initiative
References
Further reading
Allen, Robert Loring (1993). Irving Fisher: A Biography
Dimand, Robert W. (2020). "J. Laurence Laughlin versus Irving Fisher on the quantity theory of money, 1894 to 1913." Oxford Economic Papers
Dimand, Robert W. (2003). "Irving Fisher on the International Transmission of Booms and Depressions through Monetary Standards." Journal of Money, Credit & Banking. Vol: 35#1 pp 49+. online edition
Dimand, Robert W. (1993). "The Dance of the Dollar: Irving Fisher's Monetary Theory of Economic Fluctuations," History of Economics Review 20:161–172.
Dimand, Robert W. (1994). "Irving Fisher's Debt-Deflation Theory of Great Depressions," Review of Social Economy 52:92–107
Dimand, Robert W., and Geanakoplos, John (2005). "Celebrating Irving Fisher: The Legacy of a Great Economist" American Journal of Economics & Sociology, Jan 2005, Vol. 64 Issue 1, pp. 3–18
(1958). The Economic Mind in American Civilization, vol. 3.
Fellner, William, ed. (1967). Ten Economic Studies in the Tradition of Irving Fisher
Fisher, Irving Norton (1956). My Father Irving Fisher.
Schumpeter, Joseph (1951). Ten Great Economists: 222–38.
Schumpeter, Joseph (1954). A History of Economic Analysis (1954)
Thaler, Richard (1999). "Irving Fisher: Behavioral Economist," American Economic Review.
Tobin, James (1987). "Fisher, Irving," The New Palgrave: A Dictionary of Economics, Vol. 2: 369–76. Reprinted in American Journal of Economics and Sociology, Jan, 2005, 17 pages.
Tobin, James (1985). "Neoclassical Theory in America: J. B. Clark and Fisher" American Economic Review (Dec 1985) vol 75#6 pp. 28–38 in JSTOR
External links
Archive for the History of Economic Thought at McMaster University
New School for Social Research website:
Irving Fisher, 1867–1947. Includes a photograph of the young Fisher. For a photograph of the older man, see Irving Fisher on the Portraits of Statisticians page.
Irving Fisher's Theory of Investment.
Irving Fisher Papers (MS 212). Manuscripts and Archives, Yale University Library.
Herbert Scarf, William C.Brainard, "How to Compute Equilibrium Prices in 1891". Cowles Foundation Discussion Paper 1272, August 2000 – for the description of Fisher's hydraulic apparatus.
Works by or about Irving Fisher on FRASER
American atheists
Economists from New York (state)
American statisticians
Neoclassical economists
1867 births
1947 deaths
American temperance activists
Activists from New York (state)
Tobacco researchers
American eugenicists
Presidents of the American Economic Association
Presidents of the American Statistical Association
Fellows of the Econometric Society
Presidents of the Econometric Society
Yale University alumni
People from Saugerties, New York
19th-century economists
20th-century American economists
Mathematicians from New York (state)
| false |
[
"Assembly theory is a theory that characterizes object complexity. When applied to molecules, its authors claim it to be the first technique that is experimentally verifiable, unlike other molecular complexity algorithms that lack experimental measure. The theory was developed as a means to detect evidence of extraterrestrial life from data gathered by astronomical observations or probes.\n\nBackground \nThe theory was invented by Leroy Cronin and developed by the team he leads at the University of Glasgow, then extended in collaboration with a team at Arizona State University led by Sara Imari Walker. It is difficult to identify chemical signatures that are unique to life. For example, the Viking lander biological experiments detected molecules that could be explained by either living or natural non-living processes.\n\nAssembly theory compares how complex a given object is as function of the number of independent parts and their abundances. To calculate how complex an item is, it is recursively divided into its component parts. The 'assembly index' is defined as the shortest path to put the object back together.\n\nFor example, the word 'abracadabra' consists of 5 different letters and is 11 symbols long. It can be assembled from its constituents as a + b --> ab + r --> abr + a --> abra + c --> abrac + a --> abraca + d --> abracad + abra --> abracadabra, because 'abra' was already constructed at an earlier stage. Because this requires 7 steps, the assembly index is 7. The string ‘abcdefghijk’ has no repeats so has an assembly index of 10.\n\nWhile other approaches can provide a measure of complexity, the researchers claim that assembly theory's molecular assembly number the first to be measurable experimentally. They argue that the molecular assembly number can be used to gauge the improbability that a complex molecule was created without life, with a higher number of steps corresponding to higher improbability. This method could be implemented in a fragmentation tandem mass spectrometry instrument to search for biosignatures. Leroy Cronin stated \"Our system is the first falsifiable hypothesis for life detection and is based on the idea that only living systems can produce complex molecules that could not form randomly in any abundance, and this allows us to sidestep the problem of defining life.\"\n\nThe theory was extended to map chemical space with molecular assembly trees. These trees were formed by arranging constituent pieces in size order. When two or more molecules have common units, their trees are combined, including the two target molecules and various hybrids.\n\nSee also \n List of interstellar and circumstellar molecules\n\nReferences\n\nFurther reading\n\nExternal links \n Finding Life by Looking for Complexity: Interview with Leroy Cronin about assembly theory on Planetary Radio broadcast, 30 June 2021.\n\nExtraterrestrial life\nMolecular biology techniques",
"A Double-setpoint control is quite similar to bang–bang control. It is an element of a feedback-loop and therefore evaluated by application of control theory. It has two setpoints on which it switches abruptly usually involving a hysteresis. It may be used in a heating and cooling situation or for two speed control.\n\nThe theory was examined by J. Gregory Vermeychuk. The \"double-bang-bang\" was implemented in the Luft Instruments Model 77 Controller used in a variety of laboratory (titrations) and plant application. Shown in Harvard University Science Museum.\n\nOptimal control"
] |
[
"Grover Norquist",
"Americans for Tax Reform"
] |
C_b2046550e77c4ca9bbbcc7a3d5a4a3c8_1
|
How was Norquist involved with tax reform?
| 1 |
How was Grover Norquist involved with tax reform?
|
Grover Norquist
|
Norquist is best known for founding Americans for Tax Reform (ATR) in 1985, which he says was done at the request of then-President Ronald Reagan. Referring to Norquist's activities as head of ATR, Steve Kroft, in a 60 Minutes episode that aired on November 20, 2011, claimed that "Norquist has been responsible, more than anyone else, for rewriting the dogma of the Republican Party." The primary policy goal of Americans for Tax Reform is to reduce government revenues as a percentage of the GDP. ATR states that it "opposes all tax increases as a matter of principle." Americans for Tax Reform has supported Taxpayer Bill of Rights (TABOR) legislation and transparency initiatives, while opposing cap-and-trade legislation and efforts to regulate health care. In 1993, Norquist launched his Wednesday Meeting series at ATR headquarters, initially to help fight President Clinton's healthcare plan. The meeting eventually became one of the most significant institutions in American conservative political organizing. The meetings have been called "a must-attend event for Republican operatives fortunate enough to get an invitation", and "the Grand Central station of the conservative movement." Medvetz (2006) argues that the meetings have been significant in "establishing relations of...exchange" among conservative subgroups and "sustaining a moral community of conservative activists." As a nonprofit organization, Americans for Tax Reform is not required to disclose the identity of its contributors. Critics, such as Sen. Alan Simpson, have asked Norquist to disclose his contributors; he has declined but has said that ATR is financed by direct mail and other grassroots fundraising efforts. According to CBS News, "a significant portion appears to come from wealthy individuals, foundations and corporate interests." CANNOTANSWER
|
Norquist is best known for founding Americans for Tax Reform (ATR)
|
Grover Glenn Norquist (born October 19, 1956) is an American political activist and tax reduction advocate who is founder and president of Americans for Tax Reform, an organization that opposes all tax increases. A Republican, he is the primary promoter of the Taxpayer Protection Pledge, a pledge signed by lawmakers who agree to oppose increases in marginal income tax rates for individuals and businesses, as well as net reductions or eliminations of deductions and credits without a matching reduced tax rate. Prior to the November 2012 election, the pledge was signed by 95% of all Republican members of Congress and all but one of the candidates running for the 2012 Republican presidential nomination.
Early life and education
Norquist grew up in Weston, Massachusetts. He is the son of Carol (née Lutz) and Warren Elliott Norquist (a vice president of Polaroid Corporation), and is of Swedish ancestry. His brother, David Norquist has served in senior posts in Republican administrations at both the United States Department of Defense and the United States Department of Homeland Security. Norquist became involved with politics at an early age when he volunteered for the 1968 Nixon campaign, assisting with get out the vote efforts. He graduated from Weston High School and enrolled at Harvard University in 1974, where he earned his A.B. and M.B.A.
At college, Norquist was an editor at the Harvard Crimson and helped to publish the libertarian-leaning Harvard Chronicle. He was a member of the Hasty Pudding Theatricals. Norquist has said: "When I became 21, I decided that nobody learned anything about politics after the age of 21." He attended the Leadership Institute in Arlington, Virginia, an organization that teaches conservative Americans how to influence public policy through activism and leadership.
Career
Early career
Early in his career, Norquist was executive director of both the National Taxpayers Union and the national College Republicans, holding both positions until 1983. He served as Economist and Chief Speechwriter at the U.S. Chamber of Commerce from 1983 to 1984.
Norquist traveled to several war zones to help support anti-Soviet guerrilla armies in the second half of the 1980s. He worked with a support network for Oliver North's efforts with the Nicaraguan Contras and other insurgencies, in addition to promoting U.S. support for groups including Mozambique's RENAMO and Jonas Savimbi's UNITA in Angola and helping to organize anti-Soviet forces in Laos. In 1985, he went to a conference in South Africa sponsored by South African businesses called the "Youth for Freedom Conference", which sought to bring American and South African conservatives together to end the anti-apartheid movement. Norquist represented the France-Albert Rene government of Seychelles as a lobbyist from 1995 until 1999. Norquist's efforts were the subject of Tucker Carlson's 1997 article in The New Republic, "What I sold at the revolution."
Americans for Tax Reform
Norquist is best known for founding Americans for Tax Reform (ATR) in 1985, which he says was done at the request of then-President Ronald Reagan. Referring to Norquist's activities as head of ATR, Steve Kroft, in a 60 Minutes episode that aired on November 20, 2011, claimed that "Norquist has been responsible, more than anyone else, for rewriting the dogma of the Republican Party."
The primary policy goal of Americans for Tax Reform is to reduce government revenues as a percentage of the GDP. ATR states that it "opposes all tax increases as a matter of principle." Americans for Tax Reform has supported Taxpayer Bill of Rights (TABOR) legislation and transparency initiatives, while opposing cap-and-trade legislation and efforts to regulate health care.
In 1993, Norquist launched his Wednesday Meeting series at ATR headquarters, initially to help fight President Clinton's healthcare plan. The meeting eventually became one of the most significant institutions in American conservative political organizing. The meetings have been called "a must-attend event for Republican operatives fortunate enough to get an invitation", and "the Grand Central station of the conservative movement." Medvetz (2006) argues that the meetings have been significant in "establishing relations of ... exchange" among conservative subgroups and "sustaining a moral community of conservative activists."
As a nonprofit organization, Americans for Tax Reform is not required to disclose the identity of its contributors. Critics, such as Sen. Alan Simpson, have asked Norquist to disclose his contributors; he has declined but has said that ATR is financed by direct mail and other grassroots fundraising efforts. According to CBS News, "a significant portion appears to come from wealthy individuals, foundations and corporate interests."
Taxpayer Protection Pledge
Prior to the November 2012 election, 238 of 242 House Republicans and 41 out of 47 Senate Republicans had signed ATR's "Taxpayer Protection Pledge", in which the pledger promises to "oppose any and all efforts to increase the marginal income tax rate for individuals and business; and to oppose any net reduction or elimination of deductions and credits, unless matched dollar for dollar by further reducing tax rates."
The November 6, 2012 elections resulted in a decline in the number of Taxpayer Protection Pledge signatories in both the upper and lower houses of the 113th Congress: from 41 to 39 in the Senate, and from 238 to "fewer than ... 218" in the House of Representatives. According to journalist Alex Seitz-Wald, losses in the election by Norquist supporters and the "fiscal cliff" have emboldened and made more vocal critics of Norquist.
In November 2011, Senate Majority leader Harry Reid (D-NV) blamed Norquist's influence for the Joint Select Committee on Deficit Reduction's lack of progress, claiming that Congressional Republicans "are being led like puppets by Grover Norquist. They're giving speeches that we should compromise on our deficit, but never do they compromise on Grover Norquist. He is their leader." Since Norquist's pledge binds signatories to opposing deficit reduction agreements that include any element of increased tax revenue, some Republican deficit hawks now retired from office have stated that Norquist has become an obstacle to deficit reduction. Former Republican Senator Alan Simpson (R-WY), co-chairman of the National Commission on Fiscal Responsibility and Reform, has been particularly critical, describing Norquist's position as "[n]o taxes, under any situation, even if your country goes to hell."
Other political activities
National politics
Norquist was listed as one of the five primary leaders of the post-Goldwater conservative movement by Nina Easton in her 2000 book, Gang of Five. Working with eventual Speaker Newt Gingrich, Norquist was one of the co-authors of the 1994 Contract with America, and helped to rally grassroots efforts, which Norquist later chronicled in his book Rock the House. Norquist also served as a campaign staff member on the 1988, 1992 and 1996 Republican Platform Committees.
Norquist was instrumental in securing early support for the presidential campaign of then-Texas Governor George W. Bush, acting as his unofficial liaison to the conservative movement. He campaigned for Bush in both 2000 and 2004. After Bush's first election, Norquist was a key figure involved in crafting Bush's tax cuts. John Fund of the Wall Street Journal dubbed Norquist "the Grand Central Station" of conservatism and told The Nation: "It's not disputable" that Norquist was the key to the Bush campaign's surprising level of support from movement conservatives in 2000.
He has long been active in building bridges between various ethnic and religious minorities and the free-market community through his involvement with Acton Institute, Christian Coalition and Toward Tradition.
He has also "announced his plan to assemble a center-right coalition to discuss pulling out of Afghanistan to save hundreds of billions of dollars."
Norquist is active in Tea Party politics. Talking at a Florida rally he said "tea party groups should serve as the 'exoskeleton' that protects newly elected Republicans" from pressures to increase government spending.
Comprehensive immigration reform is an interest of Norquist's, who believes that the United States should have "dramatically higher levels of immigration" than it currently does.
Involvement with Jack Abramoff
According to a 2011 memoir by former lobbyist Jack Abramoff, Norquist was one of Abramoff's first major Republican party contacts. Norquist and Americans for Tax Reform were also mentioned in Senate testimony relating to the Jack Abramoff Indian lobbying scandal which resulted in a 2006 guilty plea by Abramoff to three criminal felony counts of defrauding of American Indian tribes and corrupting public officials. Records released by the Senate Indian Affairs Committee allege that ATR served as a "conduit" for funds that flowed from Abramoff's clients to surreptitiously finance grass-roots lobbying campaigns. Norquist has denied that he did anything wrong, and has not been charged with any crime.
State and local politics
Norquist's national strategy has included recruiting state and local politicians to support ATR's stance on taxes. Norquist has helped to set up regular meetings for conservatives in many states. These meetings are modeled after his Wednesday meetings in Washington, with the goal of creating a nationwide network of conservative activists that he can call upon to support conservative causes, such as tax cuts and deregulation. There are now meetings in 48 states.
In 2004, Norquist helped California Governor Arnold Schwarzenegger with his plan to privatize the CalPERS system. In Virginia's 2005 Republican primaries, Norquist encouraged the defeat of a number of legislators who voted for higher taxes.
Boards and other activities
Norquist serves on the boards of directors of numerous organizations including the National Rifle Association, the American Conservative Union, the Hispanic Leadership Fund, the Indian-American Republican Caucus, and ParentalRights.org, an organization that wishes to add a Parental Rights Amendment to the United States Constitution. In 2010, Norquist joined the advisory board of GOProud, a political organization representing lesbian, gay, bisexual, and transgender conservatives and their allies, for which he was criticized by the Family Research Council. Norquist also sits on a six-person advisory panel that nominates [[Time Person of the Year|Time'''s Person of the Year]]. In business, Norquist was a co-founder of the Merritt Group, later renamed Janus-Merritt Strategies. He is a member of the Council on Foreign Relations. Norquist signed the Madrid Charter, a document drafted by the conservative Spanish political party Vox that describes left-wing groups as enemies of Ibero-America involved in a "criminal project" that are "under the umbrella of the Cuban regime".
Views on government
Norquist favors dramatically reducing the size of government. He has been noted for his widely quoted quip from a 2001 interview with NPR's Morning Edition:
Journalist William Greider quotes him saying his goal is to bring America back to what it was "up until Teddy Roosevelt, when the socialists took over. The income tax, the death tax, regulation, all that." When asked by journalist Steven Kroft about the goal of chopping government "in half and then shrink it again to where we were at the turn of the [20th] century" before Social Security and Medicare, Norquist replied, "We functioned in this country with government at eight percent of GDP for a long time and quite well."
Some smaller government advocates argue that Norquist's "obsession with tax revenue" is actually counterproductive with respect to minimizing the size of government. Although the Americans for Tax Reform mission statement is "The government's power to control one's life derives from its power to tax. We believe that power should be minimized", critics at the Cato Institute have argued that "holding the line on taxes constrains only one of the four tools (taxes, tax deductions, spending without taxation, and regulation) used by government to alter economic outcomes."
Norquist published Leave Us Alone: Getting the Government's Hands Off Our Money, Our Guns, Our Lives, in 2008. In 2012, he published Debacle: Obama's War on Jobs and Growth and What We Can Do Now to Regain Our Future, with John R. Lott, Jr. He has served as a monthly "Politics" columnist and contributing editor to The American Spectator.
Norquist has also called for reductions in defense spending as one way to reduce the size of government.
Norquist has endorsed a non-interventionist foreign policy and cuts to the US military budget.
Personal life
Norquist has described himself as a "boring white bread Methodist." In 2004, at age 48, he married a Palestinian Muslim named Samah Alrayyes, a Kuwaiti PR specialist who was formerly a director of the Islamic Free Market Institute and specialist at the Bureau of Legislative and Public Affairs at United States Agency for International Development (USAID). The couple has adopted two children, both girls, one of whom is from the city of Bethlehem.
According to friend and former roommate John Fund, Norquist's devotion to his political causes is "monk-like" and comparable to that of Ralph Nader.
Norquist has competed three times in the comedy fundraiser "Washington's Funniest Celebrity" and placed second in 2009. Humorist P. J. O'Rourke has described Norquist as "Tom Paine crossed with Lee Atwater plus just a soupçon of Madame Defarge".
Norquist and his wife attended the annual Burning Man festival in August 2014 in Black Rock, Nevada. Norquist explained that he wished to attend because, "There's no government that organizes this. That's what happens when nobody tells you what to do. You just figure it out. So Burning Man is a refutation of the argument that the state has a place in nature."
Writings
Rock the House. Ft. Lauderdale, Fla: VYTIS Press, 1995.
Taxes: The Economic & Philosophical Necessity of Real Reform. Minneapolis, MN: Center of the American Experiment, 1996.
"America is freedom" chapter from Deaver, Michael K. Why I Am a Reagan Conservative, Chapter New York: W. Morrow, 2005.
Leave Us Alone: Getting the Government's Hands Off Our Money, Our Guns, Our Lives. New York, NY: W. Morrow, 2008.
Debacle: Obama's War on Jobs and Growth and What We Can Do Now to Regain Our Future. Hoboken, NJ: John Wiley & Sons, Inc., 2012.
See also
Democratic International
K Street Project
Starve the beast
References
External links
Official biography from Americans for Tax Reform
Column archive at National Review Online Column archive at The Guardian
Transcript: "Bill Moyers Interviews Grover Norquist", NOW with Bill Moyers, January 10, 2003
Grover Norquist on Leave Us Alone, National Review Online, 2008(?)
"The Pledge: Grover Norquist's hold on the GOP", 60 Minutes'', November 20, 2011, video interview and related reports
A Lesson in Conservative Optimism, The Weekend Interview by Stephen Moore, The Wall Street Journal, November 23, 2012
1956 births
20th-century American male writers
20th-century American non-fiction writers
20th-century Methodists
21st-century American male writers
21st-century American non-fiction writers
21st-century Methodists
Activists from Massachusetts
American columnists
American libertarians
American lobbyists
American male non-fiction writers
American Methodists
American people of Swedish descent
American political writers
The American Spectator people
Christian libertarians
College Republicans
Harvard Business School alumni
Harvard Advocate alumni
Harvard College alumni
The Harvard Crimson people
Hasty Pudding alumni
Living people
Massachusetts Republicans
Members of the Council on Foreign Relations
Non-interventionism
Pennsylvania Republicans
People from Washington, D.C.
People from Weston, Massachusetts
Signers of the Madrid Charter
Tea Party movement activists
Washington, D.C. Republicans
Writers from Massachusetts
Writers from Washington, D.C.
Weston High School (Massachusetts) alumni
| true |
[
"Norquist is a surname. Notable people with the surname include:\n\n Gerry Norquist (born 1962), American golfer\n Grover Norquist (born 1956), president of anti-tax lobbying group Americans for Tax Reform\n John Norquist (born 1949), mayor of Milwaukee, Wisconsin from 1988 through 2003\n\nSee also \n Nordquist (surname)",
"David L. Norquist (born November 24, 1966) is an American financial management professional and government official who served as the United States deputy secretary of defense from 2019 to 2021. In January 2021, he served for two days as the acting United States secretary of defense, succeeding Christopher C. Miller.\n\nEarly life and education \nNorquist graduated from the University of Michigan with a Bachelor of Arts and a Masters in Public Policy in 1989. In 1995, he received a master's degree in national security studies from Georgetown University. He is the brother of lobbyist Grover Norquist.\n\nCareer \nNorquist began his career in 1989 as a Presidential Management Fellow and GS-9 Program Budget Analyst, a federal civil servant position for the Department of the Army, and served in that position for four years. From 1993 to 1995, he was a budget analyst in the U.S. Army Intelligence and Security Command. Norquist was Director of Resource Management at Menwith Hill Station in Harrogate, United Kingdom for the U.S. Army Intelligence and Security Command from 1995 to 1996. For six years, between 1997 and 2002, Norquist worked as a staffer on the Subcommittee on Defense for the House Appropriations Committee. Between 2002 and 2006, he was Deputy Undersecretary of Defense in the Office of the Under Secretary of Defense Comptroller of the Department of Defense.\n\nIn 2006, Norquist was selected by President George W. Bush to be Chief Financial Officer at the Department of Homeland Security. He served in this position from June 1, 2006 to December 1, 2008. As the first person to be confirmed by the Senate for that position, he took steps to address widespread problems with DHS's financial statements.\n\nIn 2008, Norquist joined Kearney and Company, a certified public accounting firm, as a partner.\n\nOn March 20, 2017, President Donald Trump announced his intention to nominate Norquist to be Under Secretary of Defense (Comptroller)/Chief Financial Officer in the Department of Defense. He was confirmed by the U.S. Senate on May 25, 2017 by unanimous consent and began serving on June 2, 2017. As Comptroller, he oversaw DoD's first-ever department-wide audit of $2.7 trillion in assets, which involved over 1,000 outside auditors and discovered \"major flaws\" but no \"major cases of fraud or abuse.\"\n\nDeputy Secretary of Defense \nFollowing the December 2018 resignation of Jim Mattis as secretary of defense, deputy secretary Patrick Shanahan was made the acting secretary of defense and Norquist was made acting deputy secretary. He served as acting deputy for several months before being formally nominated for the position. After Shanahan suddenly resigned on June 18, 2019, President Trump announced his intention to nominate Army secretary Mark Esper to be defense secretary. On June 21, the president announced his intention to nominate Norquist to be deputy secretary. His nomination was sent to the Senate on July 23 and he was confirmed by voice vote on July 30, 2019, after having acted in the role for nearly seven months.\n\nNorquist pledged to shake up the defense budget and to place a high priority on funding research and development of cutting-edge technologies such as hypersonics and artificial intelligence. On August 2, 2019, he signed a memo to department leaders ordering a comprehensive, \"zero-based\" program and budget review for 2021 to 2025.\n\nActing Secretary of Defense\nNorquist became the acting secretary of defense on January 20, 2021, and served in that role until Lloyd Austin, the Biden administration's nominee, was confirmed by the Senate on January 22.\n\nPersonal life \nNorquist and his wife, Stephanie, have three children. He is the younger brother of Grover Norquist, founder of Americans for Tax Reform.\n\nPublications \n \"The Defense Budget. Is It Transformational?\", Joint Force Quarterly (National Defense University publication), Summer 2002.\n\nReferences\n\nExternal links\n\n|-\n\n|-\n\n1966 births\nAmerican people of Swedish descent\nBiden administration cabinet members\nComptrollers in the United States\nGerald R. Ford School of Public Policy alumni\nGeorge W. Bush administration personnel\nLiving people\nWalsh School of Foreign Service alumni\nTrump administration personnel\nUnited States Deputy Secretaries of Defense\nUnited States Under Secretaries of Defense\nVirginia Republicans"
] |
[
"Grover Norquist",
"Americans for Tax Reform",
"How was Norquist involved with tax reform?",
"Norquist is best known for founding Americans for Tax Reform (ATR)"
] |
C_b2046550e77c4ca9bbbcc7a3d5a4a3c8_1
|
what did ATR do?
| 2 |
what did ATR founded by Grover Norquist do?
|
Grover Norquist
|
Norquist is best known for founding Americans for Tax Reform (ATR) in 1985, which he says was done at the request of then-President Ronald Reagan. Referring to Norquist's activities as head of ATR, Steve Kroft, in a 60 Minutes episode that aired on November 20, 2011, claimed that "Norquist has been responsible, more than anyone else, for rewriting the dogma of the Republican Party." The primary policy goal of Americans for Tax Reform is to reduce government revenues as a percentage of the GDP. ATR states that it "opposes all tax increases as a matter of principle." Americans for Tax Reform has supported Taxpayer Bill of Rights (TABOR) legislation and transparency initiatives, while opposing cap-and-trade legislation and efforts to regulate health care. In 1993, Norquist launched his Wednesday Meeting series at ATR headquarters, initially to help fight President Clinton's healthcare plan. The meeting eventually became one of the most significant institutions in American conservative political organizing. The meetings have been called "a must-attend event for Republican operatives fortunate enough to get an invitation", and "the Grand Central station of the conservative movement." Medvetz (2006) argues that the meetings have been significant in "establishing relations of...exchange" among conservative subgroups and "sustaining a moral community of conservative activists." As a nonprofit organization, Americans for Tax Reform is not required to disclose the identity of its contributors. Critics, such as Sen. Alan Simpson, have asked Norquist to disclose his contributors; he has declined but has said that ATR is financed by direct mail and other grassroots fundraising efforts. According to CBS News, "a significant portion appears to come from wealthy individuals, foundations and corporate interests." CANNOTANSWER
|
The primary policy goal of Americans for Tax Reform is to reduce government revenues as a percentage of the GDP.
|
Grover Glenn Norquist (born October 19, 1956) is an American political activist and tax reduction advocate who is founder and president of Americans for Tax Reform, an organization that opposes all tax increases. A Republican, he is the primary promoter of the Taxpayer Protection Pledge, a pledge signed by lawmakers who agree to oppose increases in marginal income tax rates for individuals and businesses, as well as net reductions or eliminations of deductions and credits without a matching reduced tax rate. Prior to the November 2012 election, the pledge was signed by 95% of all Republican members of Congress and all but one of the candidates running for the 2012 Republican presidential nomination.
Early life and education
Norquist grew up in Weston, Massachusetts. He is the son of Carol (née Lutz) and Warren Elliott Norquist (a vice president of Polaroid Corporation), and is of Swedish ancestry. His brother, David Norquist has served in senior posts in Republican administrations at both the United States Department of Defense and the United States Department of Homeland Security. Norquist became involved with politics at an early age when he volunteered for the 1968 Nixon campaign, assisting with get out the vote efforts. He graduated from Weston High School and enrolled at Harvard University in 1974, where he earned his A.B. and M.B.A.
At college, Norquist was an editor at the Harvard Crimson and helped to publish the libertarian-leaning Harvard Chronicle. He was a member of the Hasty Pudding Theatricals. Norquist has said: "When I became 21, I decided that nobody learned anything about politics after the age of 21." He attended the Leadership Institute in Arlington, Virginia, an organization that teaches conservative Americans how to influence public policy through activism and leadership.
Career
Early career
Early in his career, Norquist was executive director of both the National Taxpayers Union and the national College Republicans, holding both positions until 1983. He served as Economist and Chief Speechwriter at the U.S. Chamber of Commerce from 1983 to 1984.
Norquist traveled to several war zones to help support anti-Soviet guerrilla armies in the second half of the 1980s. He worked with a support network for Oliver North's efforts with the Nicaraguan Contras and other insurgencies, in addition to promoting U.S. support for groups including Mozambique's RENAMO and Jonas Savimbi's UNITA in Angola and helping to organize anti-Soviet forces in Laos. In 1985, he went to a conference in South Africa sponsored by South African businesses called the "Youth for Freedom Conference", which sought to bring American and South African conservatives together to end the anti-apartheid movement. Norquist represented the France-Albert Rene government of Seychelles as a lobbyist from 1995 until 1999. Norquist's efforts were the subject of Tucker Carlson's 1997 article in The New Republic, "What I sold at the revolution."
Americans for Tax Reform
Norquist is best known for founding Americans for Tax Reform (ATR) in 1985, which he says was done at the request of then-President Ronald Reagan. Referring to Norquist's activities as head of ATR, Steve Kroft, in a 60 Minutes episode that aired on November 20, 2011, claimed that "Norquist has been responsible, more than anyone else, for rewriting the dogma of the Republican Party."
The primary policy goal of Americans for Tax Reform is to reduce government revenues as a percentage of the GDP. ATR states that it "opposes all tax increases as a matter of principle." Americans for Tax Reform has supported Taxpayer Bill of Rights (TABOR) legislation and transparency initiatives, while opposing cap-and-trade legislation and efforts to regulate health care.
In 1993, Norquist launched his Wednesday Meeting series at ATR headquarters, initially to help fight President Clinton's healthcare plan. The meeting eventually became one of the most significant institutions in American conservative political organizing. The meetings have been called "a must-attend event for Republican operatives fortunate enough to get an invitation", and "the Grand Central station of the conservative movement." Medvetz (2006) argues that the meetings have been significant in "establishing relations of ... exchange" among conservative subgroups and "sustaining a moral community of conservative activists."
As a nonprofit organization, Americans for Tax Reform is not required to disclose the identity of its contributors. Critics, such as Sen. Alan Simpson, have asked Norquist to disclose his contributors; he has declined but has said that ATR is financed by direct mail and other grassroots fundraising efforts. According to CBS News, "a significant portion appears to come from wealthy individuals, foundations and corporate interests."
Taxpayer Protection Pledge
Prior to the November 2012 election, 238 of 242 House Republicans and 41 out of 47 Senate Republicans had signed ATR's "Taxpayer Protection Pledge", in which the pledger promises to "oppose any and all efforts to increase the marginal income tax rate for individuals and business; and to oppose any net reduction or elimination of deductions and credits, unless matched dollar for dollar by further reducing tax rates."
The November 6, 2012 elections resulted in a decline in the number of Taxpayer Protection Pledge signatories in both the upper and lower houses of the 113th Congress: from 41 to 39 in the Senate, and from 238 to "fewer than ... 218" in the House of Representatives. According to journalist Alex Seitz-Wald, losses in the election by Norquist supporters and the "fiscal cliff" have emboldened and made more vocal critics of Norquist.
In November 2011, Senate Majority leader Harry Reid (D-NV) blamed Norquist's influence for the Joint Select Committee on Deficit Reduction's lack of progress, claiming that Congressional Republicans "are being led like puppets by Grover Norquist. They're giving speeches that we should compromise on our deficit, but never do they compromise on Grover Norquist. He is their leader." Since Norquist's pledge binds signatories to opposing deficit reduction agreements that include any element of increased tax revenue, some Republican deficit hawks now retired from office have stated that Norquist has become an obstacle to deficit reduction. Former Republican Senator Alan Simpson (R-WY), co-chairman of the National Commission on Fiscal Responsibility and Reform, has been particularly critical, describing Norquist's position as "[n]o taxes, under any situation, even if your country goes to hell."
Other political activities
National politics
Norquist was listed as one of the five primary leaders of the post-Goldwater conservative movement by Nina Easton in her 2000 book, Gang of Five. Working with eventual Speaker Newt Gingrich, Norquist was one of the co-authors of the 1994 Contract with America, and helped to rally grassroots efforts, which Norquist later chronicled in his book Rock the House. Norquist also served as a campaign staff member on the 1988, 1992 and 1996 Republican Platform Committees.
Norquist was instrumental in securing early support for the presidential campaign of then-Texas Governor George W. Bush, acting as his unofficial liaison to the conservative movement. He campaigned for Bush in both 2000 and 2004. After Bush's first election, Norquist was a key figure involved in crafting Bush's tax cuts. John Fund of the Wall Street Journal dubbed Norquist "the Grand Central Station" of conservatism and told The Nation: "It's not disputable" that Norquist was the key to the Bush campaign's surprising level of support from movement conservatives in 2000.
He has long been active in building bridges between various ethnic and religious minorities and the free-market community through his involvement with Acton Institute, Christian Coalition and Toward Tradition.
He has also "announced his plan to assemble a center-right coalition to discuss pulling out of Afghanistan to save hundreds of billions of dollars."
Norquist is active in Tea Party politics. Talking at a Florida rally he said "tea party groups should serve as the 'exoskeleton' that protects newly elected Republicans" from pressures to increase government spending.
Comprehensive immigration reform is an interest of Norquist's, who believes that the United States should have "dramatically higher levels of immigration" than it currently does.
Involvement with Jack Abramoff
According to a 2011 memoir by former lobbyist Jack Abramoff, Norquist was one of Abramoff's first major Republican party contacts. Norquist and Americans for Tax Reform were also mentioned in Senate testimony relating to the Jack Abramoff Indian lobbying scandal which resulted in a 2006 guilty plea by Abramoff to three criminal felony counts of defrauding of American Indian tribes and corrupting public officials. Records released by the Senate Indian Affairs Committee allege that ATR served as a "conduit" for funds that flowed from Abramoff's clients to surreptitiously finance grass-roots lobbying campaigns. Norquist has denied that he did anything wrong, and has not been charged with any crime.
State and local politics
Norquist's national strategy has included recruiting state and local politicians to support ATR's stance on taxes. Norquist has helped to set up regular meetings for conservatives in many states. These meetings are modeled after his Wednesday meetings in Washington, with the goal of creating a nationwide network of conservative activists that he can call upon to support conservative causes, such as tax cuts and deregulation. There are now meetings in 48 states.
In 2004, Norquist helped California Governor Arnold Schwarzenegger with his plan to privatize the CalPERS system. In Virginia's 2005 Republican primaries, Norquist encouraged the defeat of a number of legislators who voted for higher taxes.
Boards and other activities
Norquist serves on the boards of directors of numerous organizations including the National Rifle Association, the American Conservative Union, the Hispanic Leadership Fund, the Indian-American Republican Caucus, and ParentalRights.org, an organization that wishes to add a Parental Rights Amendment to the United States Constitution. In 2010, Norquist joined the advisory board of GOProud, a political organization representing lesbian, gay, bisexual, and transgender conservatives and their allies, for which he was criticized by the Family Research Council. Norquist also sits on a six-person advisory panel that nominates [[Time Person of the Year|Time'''s Person of the Year]]. In business, Norquist was a co-founder of the Merritt Group, later renamed Janus-Merritt Strategies. He is a member of the Council on Foreign Relations. Norquist signed the Madrid Charter, a document drafted by the conservative Spanish political party Vox that describes left-wing groups as enemies of Ibero-America involved in a "criminal project" that are "under the umbrella of the Cuban regime".
Views on government
Norquist favors dramatically reducing the size of government. He has been noted for his widely quoted quip from a 2001 interview with NPR's Morning Edition:
Journalist William Greider quotes him saying his goal is to bring America back to what it was "up until Teddy Roosevelt, when the socialists took over. The income tax, the death tax, regulation, all that." When asked by journalist Steven Kroft about the goal of chopping government "in half and then shrink it again to where we were at the turn of the [20th] century" before Social Security and Medicare, Norquist replied, "We functioned in this country with government at eight percent of GDP for a long time and quite well."
Some smaller government advocates argue that Norquist's "obsession with tax revenue" is actually counterproductive with respect to minimizing the size of government. Although the Americans for Tax Reform mission statement is "The government's power to control one's life derives from its power to tax. We believe that power should be minimized", critics at the Cato Institute have argued that "holding the line on taxes constrains only one of the four tools (taxes, tax deductions, spending without taxation, and regulation) used by government to alter economic outcomes."
Norquist published Leave Us Alone: Getting the Government's Hands Off Our Money, Our Guns, Our Lives, in 2008. In 2012, he published Debacle: Obama's War on Jobs and Growth and What We Can Do Now to Regain Our Future, with John R. Lott, Jr. He has served as a monthly "Politics" columnist and contributing editor to The American Spectator.
Norquist has also called for reductions in defense spending as one way to reduce the size of government.
Norquist has endorsed a non-interventionist foreign policy and cuts to the US military budget.
Personal life
Norquist has described himself as a "boring white bread Methodist." In 2004, at age 48, he married a Palestinian Muslim named Samah Alrayyes, a Kuwaiti PR specialist who was formerly a director of the Islamic Free Market Institute and specialist at the Bureau of Legislative and Public Affairs at United States Agency for International Development (USAID). The couple has adopted two children, both girls, one of whom is from the city of Bethlehem.
According to friend and former roommate John Fund, Norquist's devotion to his political causes is "monk-like" and comparable to that of Ralph Nader.
Norquist has competed three times in the comedy fundraiser "Washington's Funniest Celebrity" and placed second in 2009. Humorist P. J. O'Rourke has described Norquist as "Tom Paine crossed with Lee Atwater plus just a soupçon of Madame Defarge".
Norquist and his wife attended the annual Burning Man festival in August 2014 in Black Rock, Nevada. Norquist explained that he wished to attend because, "There's no government that organizes this. That's what happens when nobody tells you what to do. You just figure it out. So Burning Man is a refutation of the argument that the state has a place in nature."
Writings
Rock the House. Ft. Lauderdale, Fla: VYTIS Press, 1995.
Taxes: The Economic & Philosophical Necessity of Real Reform. Minneapolis, MN: Center of the American Experiment, 1996.
"America is freedom" chapter from Deaver, Michael K. Why I Am a Reagan Conservative, Chapter New York: W. Morrow, 2005.
Leave Us Alone: Getting the Government's Hands Off Our Money, Our Guns, Our Lives. New York, NY: W. Morrow, 2008.
Debacle: Obama's War on Jobs and Growth and What We Can Do Now to Regain Our Future. Hoboken, NJ: John Wiley & Sons, Inc., 2012.
See also
Democratic International
K Street Project
Starve the beast
References
External links
Official biography from Americans for Tax Reform
Column archive at National Review Online Column archive at The Guardian
Transcript: "Bill Moyers Interviews Grover Norquist", NOW with Bill Moyers, January 10, 2003
Grover Norquist on Leave Us Alone, National Review Online, 2008(?)
"The Pledge: Grover Norquist's hold on the GOP", 60 Minutes'', November 20, 2011, video interview and related reports
A Lesson in Conservative Optimism, The Weekend Interview by Stephen Moore, The Wall Street Journal, November 23, 2012
1956 births
20th-century American male writers
20th-century American non-fiction writers
20th-century Methodists
21st-century American male writers
21st-century American non-fiction writers
21st-century Methodists
Activists from Massachusetts
American columnists
American libertarians
American lobbyists
American male non-fiction writers
American Methodists
American people of Swedish descent
American political writers
The American Spectator people
Christian libertarians
College Republicans
Harvard Business School alumni
Harvard Advocate alumni
Harvard College alumni
The Harvard Crimson people
Hasty Pudding alumni
Living people
Massachusetts Republicans
Members of the Council on Foreign Relations
Non-interventionism
Pennsylvania Republicans
People from Washington, D.C.
People from Weston, Massachusetts
Signers of the Madrid Charter
Tea Party movement activists
Washington, D.C. Republicans
Writers from Massachusetts
Writers from Washington, D.C.
Weston High School (Massachusetts) alumni
| true |
[
"\"ATR\" (\"Atari Teenage Riot\") is a song by Atari Teenage Riot, released as their first single in 1993. It was later included on their debut album Delete Yourself!.\n\nTrack listings\nCD version\n\"ATR\"\n\"ATR\" (Urban Riot Mix)\n\"Midi Junkies\"\n\"Midi Junkies\" (Berlin Mix)\n\nCassette version\n\"ATR\" - 3:09\n\"ATR\" (Urban Riot Mix) - 3:08\n\"Midi Junkies\" - 5:02\n\"Midi Junkies\" (Berlin Mix) - 6:20\n\"ATR\" (Radio Bleep Version) - 3:09\n\n12\" vinyl\nSide A\n\"ATR\"\n\"ATR\" (Urban Riot Mix)\nSide B\n\"Midi Junkies\"\n\"Midi Junkies\" (Berlin Mix)\n\n12\" vinyl promo\nSide A\n\"ATR\" (Urban Riot Mix)\nSide B\n\"Midijunkies\" (Berlin Mix)\n\nExternal links\n\"ATR\" cassette at Discogs\n\"ATR\" CD at Discogs\n\"ATR\" UK 12\" at Discogs\n\"ATR\" Germany 12\" at Discogs\n\"ATR\" 12\" promo at Discogs\n\n1993 singles\nAtari Teenage Riot songs\n1993 songs\nPhonogram Records singles",
"ATR (Aerei da Trasporto Regionale or Avions de transport régional; Regional Transport Airplanes in English) is a Franco-Italian aircraft manufacturer headquartered on the grounds of Toulouse Blagnac International Airport in Blagnac, France.\n\nIt was formed during 1981 as a joint venture between Aérospatiale of France (now Airbus) and Aeritalia (now Leonardo) of Italy. The company's principal products are the ATR 42 and ATR 72 aircraft, of which it has developed multiple variants of both types. ATR has sold more than 1,600 aircraft and has over 200 operators in more than 100 countries.\n\nManufacturing\nLeonardo's manufacturing facilities in Pomigliano d'Arco, near Naples, Italy, produce the aircraft's fuselage and tail sections. Aircraft wings are assembled at Sogerma in Bordeaux in western France by Airbus France. Final assembly, flight-testing, certification and deliveries are the responsibility of ATR in Toulouse, France.\n\nHistory\n\n1980s \nDuring the 1960s and 1970s, European aircraft manufacturers had, for the most part, undergone considerable corporate restructuring, including mergers and consolidations, as well as moved towards collaborative multi-national programmes, such as the newly launched Airbus A300. In line with this trend towards intra-European cooperation, French aerospace company Aérospatiale and Italian aviation conglomerate Aeritalia commenced discussions on the topic of working together to develop an all-new regional airliner. Prior to this, both companies had been independently conducting studies for their own aircraft concepts, the AS 35 design in the case of Aerospatiale and the AIT 230 for Aeritalia, to conform with demand within this sector of the market as early as 1978.\n\nOn 4 November 1981, a formal Cooperation Agreement was signed by Aeritalia chairman Renato Bonifacio and Aérospatiale chairman Jacques Mitterrand in Paris, France. This agreement signaled not only the merger of their efforts but of their separate concept designs together into a single complete aircraft design for the purpose of pursuing its development and manufacture as a collaborative joint venture. The consortium targeted a similar unit cost but a fuel consumption over a sector, nearly half the required by its 40-50 seat competitors, the British Aerospace HS.748 and Fokker F.27, and planned a 58-seat ATR XX stretch.\n\nThis agreement served not only as the basis and origins of the ATR company, but also as the effective launch point of what would become the fledgling firm's first aircraft, which was designated as the ATR 42. By 1983, ATR's customer services division has been set up, readying infrastructure worldwide to provide support for ATR's upcoming aircraft to any customer regardless of location.\n\nOn 16 August 1984, the first model of the type, known as the ATR 42–200, conducted its maiden flight from Toulouse Airport, France. During September 1985, both the French Directorate General for Civil Aviation (DGCA) and the Italian Italian Civil Aviation Authority awarded type certification for the type, clearing it to commence operational service. On 3 December 1985, the first production aircraft, designated as the ATR 42-300, was delivered to French launch customer Air Littoral; the first revenue service was performed later that same month. During January 1986, already confident of the ATR 42's success and of the demand for an enlarged version of the aircraft, ATR announced that the launch of a programme to develop such an aircraft, which was designated as the ATR 72 to reflect its increased passenger capacity.\n\nDuring 1988, the 200th ATR was delivered to Thai Airways. During September 1989, it was announced that ATR had achieved its original target of 400 sales of the ATR. That same year, deliveries of the enlarged ATR 72 commenced; shortly thereafter, it became common for both types to be ordered together. Since the smaller ATR 42 is assembled on the same production line as the ATR 72, along with sharing the majority of subsystems, components, and manufacturing techniques, the two types support each other to remain in production. This factor may have been crucial as, by 2015, the ATR 42 was the only 50-seat regional aircraft that was still being manufactured.\n\n1990s \nDuring September 1992, the 300th ATR was delivered to Finnish airline Karair.\nThe 500th ATR was delivered to American Eagle, USA on 5 September 1997.\n\nIn order to maintain a technological edge on the highly competitive market for regional airliners during the 1990s, several modifications and improved versions of the ATR 42 were progressively introduced. The initial ATR 42-300 model remained in production until 1996, while the first upgraded (and broadly similar) model, designated as the ATR 42-320, was also produced until 1996. The -320 variant principally differed in that it was powered by a pair of the more-powerful PW121 engines, giving it improved performance over the 300. Another variant, the ATR 42-300QC, was a dedicated 'quick-change' (convertible) freight/passenger version of the standard −300 series.\n\nThe next major production version was the ATR 42−500 series, the development of which having been originally announced on 14 June 1993. Performing its maiden flight on 16 September 1994, and awarded certification by the British Civil Aviation Authority and France's (DGCA) during July 1995; the -500 model was an upgraded aircraft, equipped with new PW127 engines, new six-bladed propellers, improved hot and high performance, increased weight capacity and an improved passenger cabin. On 31 October 1995, the first ATR 42-500 was delivered to Italian operator Air Dolomiti; on 19 January 1996, the first revenue service to be performed by the type was conducted. In addition to new aircraft models, various organisational changes were also implemented. On 10 July 1998, ATR launched its new Asset Management Department.\n\n2000s \nOn 28 April 2000, the 600th ATR, an ATR 72-500, was delivered to Italian operator Air Dolomiti.\nThe 700th aircraft, an ATR 72-500, was delivered to Indian airline Simplify Deccan, on 8 September 2006.\n\nIn June 2001, EADS and Alenia Aeronautica, ATR's parent companies, decided to reinforce their partnership, regrouping all industrial activities related to regional airliners underneath the ATR consortium. On 3 October 2003, ATR became one of the first aircraft manufacturers to be certified under ISO 9001-2000 and EN/AS/JISQ 9100, the worldwide quality standard for the aeronautics industry. During July 2004, ATR and Brazilian aircraft manufacturer Embraer announced a cooperation agreement on the AEROChain Portal for the purpose of delivering improved customer service. During April 2009, ATR announces the launch of its 'Door-2-Door' service as a new option in its comprehensive customer services range.\n\nOn 2 October 2007, ATR CEO Stéphane Mayer announced the launch of the −600 series aircraft; the ATR 42–600 and ATR 72–600 featured various improvements to increase efficiency, dispatch reliability, lower fuel burn and operating costs. While broadly similar to the earlier -500 model; differences include the adoption of improved PW127M engines, a new glass cockpit, and a variety of other minor improvements. Using the test registration F-WWLY, the prototype ATR 42–600 first flew on 4 March 2010.\n\n2010s \n\nThe 900th aircraft, an ATR 72-500, was delivered to Brazilian airline TRIP Linhas Aéreas on 10 September 2010. During 2011, Royal Air Maroc took delivery of the first ATR 72-600. The 1,000th aircraft was delivered to Spain's Air Nostrum on May 3, 2012. On 15 June 2015, Japan Air Commuter signed a contract for ATR's 1,500th aircraft.\n\nOn 1 February 2016, ATR signed a major agreement with Iran Air for 40 ATR 72-600s. The 1,300th ATR, an ATR 72-600, was delivered to NAC for operation by Irish airline Stobart Air on 14 June 2016; that same year, ATR delivered the first ever ATR 72-600 High Capacity aircraft (78 seats) to Cebu Pacific. In October 2016, Christian Scherer was appointed CEO.\n\nIn 2017, ATR celebrated its 35th anniversary. On 1 February, ATR and Sweden's BRA performed the first ATR biofuel flight. During August 2017, US regional carrier Silver Airways signed a letter of intent for up to 50 ATR 42, a return in the continental US market since 1997 when American Airlines converted 12 ATR 72 options, due to the rise of regional jets and the American Eagle Flight 4184 crash in 1994. ATR lowered its output to 80 deliveries a year from 2017 and boasts a nearly three-year backlog after FedEx Express' November 2017 order. In 2017, ATR booked 113 firm orders and 40 options, and delivered 80 aircraft: 70 new ATR 72-600s, 8 new ATR 42-600s and 2 second hand ATRs.\n\nBy April 2018, the fleet was flying more than 5,000 times per day and had operated 30 million flight hours. By the end of June 2018, Leonardo S.p.A. had shipped the 1,500th ATR fuselage while nearly 1,700 airliners had been ordered; ATR reportedly led the turboprop regional airliner market since 2010 with a 75% share. The company's aircraft were being operated in nearly 100 countries by 200 airlines and 30 million flights has been completed; it was also claimed that an ATR airliner takes off or lands every 8 seconds.\n\nOn 13 September, Scherer left its CEO role to replace Eric Schulz as Airbus' Chief Commercial Officer.\nATR replaced Scherer as its chief executive with Stefano Bortoli, president of ATR's board and Leonardo aircraft's senior vice-president for strategy and marketing.\nAt the end of October, the 1,500th ATR was delivered, an ATR 72-600 to Japan Air Commuter, after nearly 500 ATR 42s and more than 1,000 ATR 72s deliveries to over 200 operators in 100 countries. During 2018, ATR delivered 76 aircraft; the rate of production has held at a stable rate. The company opted to pursue a low-risk strategy, avoiding disruptive measures while opting to integrate relatively straightforward enhancements onto its aircraft, such as the Elbit Systems ClearVision wearable enhanced vision system.\n\nProducts\n\nProposed\n ATR 82 – During the mid-1980s, the company investigated a 78-seat derivative of the ATR 72. This would have been powered by two Allison AE2100 turboprops (turbofans were also studied for a time) and would have a cruising speed as high as . The ATR-82 project (as it was dubbed) was suspended when Aero International (Regional) () was formed in early 1996.\n ATR stretch – In 2007, as a response to the Q400X proposal, ATR floated the idea of a 90–99 seater stretch. As of 2009, it was considered part of the future -900 series ATR family. In 2011, the 90-seater was proposed to shareholders. As of 2012, a new clean-sheet design has been considered in the 90-seat segment, for a 2017 launch.\n\nFor a 2,000–2,500-unit demand over 20 years, developing a 90-seater would cost more than $5bn and should achieve at least a 30% fuel-burn reduction and the unit price needs to stay in the low-to-mid-$20m range, below small jets.\nLeonardo S.p.A. prefers a clean-sheet 90-100 seater with new turboprops, wings and cockpit available soon but Airbus favours a medium-term introduction with disruptive hybrid electric engines, structural advanced materials and automation.\nIn January 2018, Leonardo abandoned the 100 seater prospect, favouring existing ATR 42 and 72 models which dominate the turboprop market with a 75% share.\n\nReferences\n\nhttps://www.atr-aircraft.com/presspost/air-new-zealand-receives-atrs-1600th-delivery/\n\nExternal links\n\nAirbus joint ventures\nMultinational aircraft manufacturers\nCompanies based in Toulouse\nFrance–Italy relations\nAerospace companies of Italy\nAerospace companies of France\nAircraft manufacturers\nItalian companies established in 1981\nFrench companies established in 1981"
] |
[
"Grover Norquist",
"Americans for Tax Reform",
"How was Norquist involved with tax reform?",
"Norquist is best known for founding Americans for Tax Reform (ATR)",
"what did ATR do?",
"The primary policy goal of Americans for Tax Reform is to reduce government revenues as a percentage of the GDP."
] |
C_b2046550e77c4ca9bbbcc7a3d5a4a3c8_1
|
What else is significant about ATR?
| 3 |
Aside from being the primary goal to reduce government revenues as a percentage of the GDP what else is significant about ATR?
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Grover Norquist
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Norquist is best known for founding Americans for Tax Reform (ATR) in 1985, which he says was done at the request of then-President Ronald Reagan. Referring to Norquist's activities as head of ATR, Steve Kroft, in a 60 Minutes episode that aired on November 20, 2011, claimed that "Norquist has been responsible, more than anyone else, for rewriting the dogma of the Republican Party." The primary policy goal of Americans for Tax Reform is to reduce government revenues as a percentage of the GDP. ATR states that it "opposes all tax increases as a matter of principle." Americans for Tax Reform has supported Taxpayer Bill of Rights (TABOR) legislation and transparency initiatives, while opposing cap-and-trade legislation and efforts to regulate health care. In 1993, Norquist launched his Wednesday Meeting series at ATR headquarters, initially to help fight President Clinton's healthcare plan. The meeting eventually became one of the most significant institutions in American conservative political organizing. The meetings have been called "a must-attend event for Republican operatives fortunate enough to get an invitation", and "the Grand Central station of the conservative movement." Medvetz (2006) argues that the meetings have been significant in "establishing relations of...exchange" among conservative subgroups and "sustaining a moral community of conservative activists." As a nonprofit organization, Americans for Tax Reform is not required to disclose the identity of its contributors. Critics, such as Sen. Alan Simpson, have asked Norquist to disclose his contributors; he has declined but has said that ATR is financed by direct mail and other grassroots fundraising efforts. According to CBS News, "a significant portion appears to come from wealthy individuals, foundations and corporate interests." CANNOTANSWER
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As a nonprofit organization, Americans for Tax Reform is not required to disclose the identity of its contributors.
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Grover Glenn Norquist (born October 19, 1956) is an American political activist and tax reduction advocate who is founder and president of Americans for Tax Reform, an organization that opposes all tax increases. A Republican, he is the primary promoter of the Taxpayer Protection Pledge, a pledge signed by lawmakers who agree to oppose increases in marginal income tax rates for individuals and businesses, as well as net reductions or eliminations of deductions and credits without a matching reduced tax rate. Prior to the November 2012 election, the pledge was signed by 95% of all Republican members of Congress and all but one of the candidates running for the 2012 Republican presidential nomination.
Early life and education
Norquist grew up in Weston, Massachusetts. He is the son of Carol (née Lutz) and Warren Elliott Norquist (a vice president of Polaroid Corporation), and is of Swedish ancestry. His brother, David Norquist has served in senior posts in Republican administrations at both the United States Department of Defense and the United States Department of Homeland Security. Norquist became involved with politics at an early age when he volunteered for the 1968 Nixon campaign, assisting with get out the vote efforts. He graduated from Weston High School and enrolled at Harvard University in 1974, where he earned his A.B. and M.B.A.
At college, Norquist was an editor at the Harvard Crimson and helped to publish the libertarian-leaning Harvard Chronicle. He was a member of the Hasty Pudding Theatricals. Norquist has said: "When I became 21, I decided that nobody learned anything about politics after the age of 21." He attended the Leadership Institute in Arlington, Virginia, an organization that teaches conservative Americans how to influence public policy through activism and leadership.
Career
Early career
Early in his career, Norquist was executive director of both the National Taxpayers Union and the national College Republicans, holding both positions until 1983. He served as Economist and Chief Speechwriter at the U.S. Chamber of Commerce from 1983 to 1984.
Norquist traveled to several war zones to help support anti-Soviet guerrilla armies in the second half of the 1980s. He worked with a support network for Oliver North's efforts with the Nicaraguan Contras and other insurgencies, in addition to promoting U.S. support for groups including Mozambique's RENAMO and Jonas Savimbi's UNITA in Angola and helping to organize anti-Soviet forces in Laos. In 1985, he went to a conference in South Africa sponsored by South African businesses called the "Youth for Freedom Conference", which sought to bring American and South African conservatives together to end the anti-apartheid movement. Norquist represented the France-Albert Rene government of Seychelles as a lobbyist from 1995 until 1999. Norquist's efforts were the subject of Tucker Carlson's 1997 article in The New Republic, "What I sold at the revolution."
Americans for Tax Reform
Norquist is best known for founding Americans for Tax Reform (ATR) in 1985, which he says was done at the request of then-President Ronald Reagan. Referring to Norquist's activities as head of ATR, Steve Kroft, in a 60 Minutes episode that aired on November 20, 2011, claimed that "Norquist has been responsible, more than anyone else, for rewriting the dogma of the Republican Party."
The primary policy goal of Americans for Tax Reform is to reduce government revenues as a percentage of the GDP. ATR states that it "opposes all tax increases as a matter of principle." Americans for Tax Reform has supported Taxpayer Bill of Rights (TABOR) legislation and transparency initiatives, while opposing cap-and-trade legislation and efforts to regulate health care.
In 1993, Norquist launched his Wednesday Meeting series at ATR headquarters, initially to help fight President Clinton's healthcare plan. The meeting eventually became one of the most significant institutions in American conservative political organizing. The meetings have been called "a must-attend event for Republican operatives fortunate enough to get an invitation", and "the Grand Central station of the conservative movement." Medvetz (2006) argues that the meetings have been significant in "establishing relations of ... exchange" among conservative subgroups and "sustaining a moral community of conservative activists."
As a nonprofit organization, Americans for Tax Reform is not required to disclose the identity of its contributors. Critics, such as Sen. Alan Simpson, have asked Norquist to disclose his contributors; he has declined but has said that ATR is financed by direct mail and other grassroots fundraising efforts. According to CBS News, "a significant portion appears to come from wealthy individuals, foundations and corporate interests."
Taxpayer Protection Pledge
Prior to the November 2012 election, 238 of 242 House Republicans and 41 out of 47 Senate Republicans had signed ATR's "Taxpayer Protection Pledge", in which the pledger promises to "oppose any and all efforts to increase the marginal income tax rate for individuals and business; and to oppose any net reduction or elimination of deductions and credits, unless matched dollar for dollar by further reducing tax rates."
The November 6, 2012 elections resulted in a decline in the number of Taxpayer Protection Pledge signatories in both the upper and lower houses of the 113th Congress: from 41 to 39 in the Senate, and from 238 to "fewer than ... 218" in the House of Representatives. According to journalist Alex Seitz-Wald, losses in the election by Norquist supporters and the "fiscal cliff" have emboldened and made more vocal critics of Norquist.
In November 2011, Senate Majority leader Harry Reid (D-NV) blamed Norquist's influence for the Joint Select Committee on Deficit Reduction's lack of progress, claiming that Congressional Republicans "are being led like puppets by Grover Norquist. They're giving speeches that we should compromise on our deficit, but never do they compromise on Grover Norquist. He is their leader." Since Norquist's pledge binds signatories to opposing deficit reduction agreements that include any element of increased tax revenue, some Republican deficit hawks now retired from office have stated that Norquist has become an obstacle to deficit reduction. Former Republican Senator Alan Simpson (R-WY), co-chairman of the National Commission on Fiscal Responsibility and Reform, has been particularly critical, describing Norquist's position as "[n]o taxes, under any situation, even if your country goes to hell."
Other political activities
National politics
Norquist was listed as one of the five primary leaders of the post-Goldwater conservative movement by Nina Easton in her 2000 book, Gang of Five. Working with eventual Speaker Newt Gingrich, Norquist was one of the co-authors of the 1994 Contract with America, and helped to rally grassroots efforts, which Norquist later chronicled in his book Rock the House. Norquist also served as a campaign staff member on the 1988, 1992 and 1996 Republican Platform Committees.
Norquist was instrumental in securing early support for the presidential campaign of then-Texas Governor George W. Bush, acting as his unofficial liaison to the conservative movement. He campaigned for Bush in both 2000 and 2004. After Bush's first election, Norquist was a key figure involved in crafting Bush's tax cuts. John Fund of the Wall Street Journal dubbed Norquist "the Grand Central Station" of conservatism and told The Nation: "It's not disputable" that Norquist was the key to the Bush campaign's surprising level of support from movement conservatives in 2000.
He has long been active in building bridges between various ethnic and religious minorities and the free-market community through his involvement with Acton Institute, Christian Coalition and Toward Tradition.
He has also "announced his plan to assemble a center-right coalition to discuss pulling out of Afghanistan to save hundreds of billions of dollars."
Norquist is active in Tea Party politics. Talking at a Florida rally he said "tea party groups should serve as the 'exoskeleton' that protects newly elected Republicans" from pressures to increase government spending.
Comprehensive immigration reform is an interest of Norquist's, who believes that the United States should have "dramatically higher levels of immigration" than it currently does.
Involvement with Jack Abramoff
According to a 2011 memoir by former lobbyist Jack Abramoff, Norquist was one of Abramoff's first major Republican party contacts. Norquist and Americans for Tax Reform were also mentioned in Senate testimony relating to the Jack Abramoff Indian lobbying scandal which resulted in a 2006 guilty plea by Abramoff to three criminal felony counts of defrauding of American Indian tribes and corrupting public officials. Records released by the Senate Indian Affairs Committee allege that ATR served as a "conduit" for funds that flowed from Abramoff's clients to surreptitiously finance grass-roots lobbying campaigns. Norquist has denied that he did anything wrong, and has not been charged with any crime.
State and local politics
Norquist's national strategy has included recruiting state and local politicians to support ATR's stance on taxes. Norquist has helped to set up regular meetings for conservatives in many states. These meetings are modeled after his Wednesday meetings in Washington, with the goal of creating a nationwide network of conservative activists that he can call upon to support conservative causes, such as tax cuts and deregulation. There are now meetings in 48 states.
In 2004, Norquist helped California Governor Arnold Schwarzenegger with his plan to privatize the CalPERS system. In Virginia's 2005 Republican primaries, Norquist encouraged the defeat of a number of legislators who voted for higher taxes.
Boards and other activities
Norquist serves on the boards of directors of numerous organizations including the National Rifle Association, the American Conservative Union, the Hispanic Leadership Fund, the Indian-American Republican Caucus, and ParentalRights.org, an organization that wishes to add a Parental Rights Amendment to the United States Constitution. In 2010, Norquist joined the advisory board of GOProud, a political organization representing lesbian, gay, bisexual, and transgender conservatives and their allies, for which he was criticized by the Family Research Council. Norquist also sits on a six-person advisory panel that nominates [[Time Person of the Year|Time'''s Person of the Year]]. In business, Norquist was a co-founder of the Merritt Group, later renamed Janus-Merritt Strategies. He is a member of the Council on Foreign Relations. Norquist signed the Madrid Charter, a document drafted by the conservative Spanish political party Vox that describes left-wing groups as enemies of Ibero-America involved in a "criminal project" that are "under the umbrella of the Cuban regime".
Views on government
Norquist favors dramatically reducing the size of government. He has been noted for his widely quoted quip from a 2001 interview with NPR's Morning Edition:
Journalist William Greider quotes him saying his goal is to bring America back to what it was "up until Teddy Roosevelt, when the socialists took over. The income tax, the death tax, regulation, all that." When asked by journalist Steven Kroft about the goal of chopping government "in half and then shrink it again to where we were at the turn of the [20th] century" before Social Security and Medicare, Norquist replied, "We functioned in this country with government at eight percent of GDP for a long time and quite well."
Some smaller government advocates argue that Norquist's "obsession with tax revenue" is actually counterproductive with respect to minimizing the size of government. Although the Americans for Tax Reform mission statement is "The government's power to control one's life derives from its power to tax. We believe that power should be minimized", critics at the Cato Institute have argued that "holding the line on taxes constrains only one of the four tools (taxes, tax deductions, spending without taxation, and regulation) used by government to alter economic outcomes."
Norquist published Leave Us Alone: Getting the Government's Hands Off Our Money, Our Guns, Our Lives, in 2008. In 2012, he published Debacle: Obama's War on Jobs and Growth and What We Can Do Now to Regain Our Future, with John R. Lott, Jr. He has served as a monthly "Politics" columnist and contributing editor to The American Spectator.
Norquist has also called for reductions in defense spending as one way to reduce the size of government.
Norquist has endorsed a non-interventionist foreign policy and cuts to the US military budget.
Personal life
Norquist has described himself as a "boring white bread Methodist." In 2004, at age 48, he married a Palestinian Muslim named Samah Alrayyes, a Kuwaiti PR specialist who was formerly a director of the Islamic Free Market Institute and specialist at the Bureau of Legislative and Public Affairs at United States Agency for International Development (USAID). The couple has adopted two children, both girls, one of whom is from the city of Bethlehem.
According to friend and former roommate John Fund, Norquist's devotion to his political causes is "monk-like" and comparable to that of Ralph Nader.
Norquist has competed three times in the comedy fundraiser "Washington's Funniest Celebrity" and placed second in 2009. Humorist P. J. O'Rourke has described Norquist as "Tom Paine crossed with Lee Atwater plus just a soupçon of Madame Defarge".
Norquist and his wife attended the annual Burning Man festival in August 2014 in Black Rock, Nevada. Norquist explained that he wished to attend because, "There's no government that organizes this. That's what happens when nobody tells you what to do. You just figure it out. So Burning Man is a refutation of the argument that the state has a place in nature."
Writings
Rock the House. Ft. Lauderdale, Fla: VYTIS Press, 1995.
Taxes: The Economic & Philosophical Necessity of Real Reform. Minneapolis, MN: Center of the American Experiment, 1996.
"America is freedom" chapter from Deaver, Michael K. Why I Am a Reagan Conservative, Chapter New York: W. Morrow, 2005.
Leave Us Alone: Getting the Government's Hands Off Our Money, Our Guns, Our Lives. New York, NY: W. Morrow, 2008.
Debacle: Obama's War on Jobs and Growth and What We Can Do Now to Regain Our Future. Hoboken, NJ: John Wiley & Sons, Inc., 2012.
See also
Democratic International
K Street Project
Starve the beast
References
External links
Official biography from Americans for Tax Reform
Column archive at National Review Online Column archive at The Guardian
Transcript: "Bill Moyers Interviews Grover Norquist", NOW with Bill Moyers, January 10, 2003
Grover Norquist on Leave Us Alone, National Review Online, 2008(?)
"The Pledge: Grover Norquist's hold on the GOP", 60 Minutes'', November 20, 2011, video interview and related reports
A Lesson in Conservative Optimism, The Weekend Interview by Stephen Moore, The Wall Street Journal, November 23, 2012
1956 births
20th-century American male writers
20th-century American non-fiction writers
20th-century Methodists
21st-century American male writers
21st-century American non-fiction writers
21st-century Methodists
Activists from Massachusetts
American columnists
American libertarians
American lobbyists
American male non-fiction writers
American Methodists
American people of Swedish descent
American political writers
The American Spectator people
Christian libertarians
College Republicans
Harvard Business School alumni
Harvard Advocate alumni
Harvard College alumni
The Harvard Crimson people
Hasty Pudding alumni
Living people
Massachusetts Republicans
Members of the Council on Foreign Relations
Non-interventionism
Pennsylvania Republicans
People from Washington, D.C.
People from Weston, Massachusetts
Signers of the Madrid Charter
Tea Party movement activists
Washington, D.C. Republicans
Writers from Massachusetts
Writers from Washington, D.C.
Weston High School (Massachusetts) alumni
| true |
[
"Serine/threonine-protein kinase ATR also known as ataxia telangiectasia and Rad3-related protein (ATR) or FRAP-related protein 1 (FRP1) is an enzyme that, in humans, is encoded by the ATR gene. It is a large kinase of about 301.66 kDa. ATR belongs to the phosphatidylinositol 3-kinase-related kinase protein family. ATR is activated in response to single strand breaks, and works with ATM to ensure genome integrity.\n\nFunction \n\nATR is a serine/threonine-specific protein kinase that is involved in sensing DNA damage and activating the DNA damage checkpoint, leading to cell cycle arrest in eukaryotes. ATR is activated in response to persistent single-stranded DNA, which is a common intermediate formed during DNA damage detection and repair. Single-stranded DNA occurs at stalled replication forks and as an intermediate in DNA repair pathways such as nucleotide excision repair and homologous recombination repair. ATR is activated during more persistent issues with DNA damage; within cells, most DNA damage is repaired quickly and faithfully through other mechanisms. ATR works with a partner protein called ATRIP to recognize single-stranded DNA coated with RPA. RPA binds specifically to ATRIP, which the recruits ATR through an ATR activating domain (AAD) on its surface. This association of ATR with RPA is how ATR specifically binds to and works on single-stranded DNA—this was proven through experiments with cells that had mutated nucleotide excision pathways. In these cells, ATR was unable to activate after UV damage, showing the need for single stranded DNA for ATR activity. The acidic alpha-helix of ATRIP binds to a basic cleft in the large RPA subunit to create a site for effective ATR binding. Many other proteins exist that are recruited to the cite of ssDNA that are needed for ATR activation. While RPA recruits ATRIP, the RAD9-RAD1-HUS1 (9-1-1) complex is loaded onto the DNA adjacent to the ssDNA; though ATRIP and the 9-1-1 complex are recruited independently to the site of DNA damage, they interact extensively through massive phosphorylation once colocalized. The 9-1-1 complex, a ring-shaped molecule related to PCNA, allows the accumulation of ATR in a damage specific way. For effective association of the 9-1-1 complex with DNA, RAD17-RFC is also needed. This complex also brings in topoisomerase binding protein 1 (TOPBP1) which binds ATR through a highly conserved AAD. TOPBP1 binding is dependent on the phosphorylation of the Ser387 residue of the RAD9 subunit of the 9-1-1 complex. This is likely one of the main functions of the 9-1-1 complex within this DNA damage response. Another important protein that binds TR was identified by Haahr et al. in 2016: Ewings tumor-associated antigen 1 (ETAA1). This protein works in parallel with TOPBP1 to activate ATR through a conserved AAD. It is hypothesized that this pathway, which works independently of TOPBP1 pathway, is used to divide labor and possibly respond to differential needs within the cell. It is hypothesized that one pathway may be most active when ATR is carrying out normal support for replicating cells, and the other may be active when the cell is under more extreme replicative stress.\n\nIt is not just ssDNA that activates ATR, though the existence of RPA associated ssDNA is important. Instead, ATR activation is heavily dependent on the existence of all the proteins previously described, that colocalize around the site of DNA damage. An experiment where RAD9, ATRIP, and TOPBP1 were overexpressed proved that these proteins alone were enough to activate ATR in the absence of ssDNA, showing their importance in triggering this pathway.\n\nOnce ATR is activated, it phosphorylates Chk1, initiating a signal transduction cascade that culminates in cell cycle arrest. It acts to activate Chk1 through a claspin intermediate which binds the two proteins together. This claspin intermediate needs to be phosphorylated at two sites in order to do this job, something that can be carried out by ATR but is most likely under the control of some other kinase. This response, mediated by Chk1, is essential to regulating replication within a cell; through the Chk1-CDC25 pathway, which effects levels of CDC2, this response is thought to reduce the rate of DNA synthesis in the cell and inhibit origin firing during replication. In addition to its role in activating the DNA damage checkpoint, ATR is thought to function in unperturbed DNA replication. The response is dependent on how much ssDNA accumulates at stalled replication forks. ATR is activated during every S phase, even in normally cycling cells, as it works to monitor replication forks to repair and stop cell cycling when needed. This means that ATR is activated at normal, background levels within all healthy cells. There are many points in the genome that are susceptible to stalling during replication due to complex sequences of DNA or endogenous damage that occurs during the replication. In these cases, ATR works to stabilize the forks so that DNA replication can occur as it should.\n\nATR is related to a second checkpoint-activating kinase, ATM, which is activated by double strand breaks in DNA or chromatin disruption. ATR has also been shown to work on double strand breaks (DSB), acting a slower response to address the common end resections that occur in DSBs, and thus leave long strands of ssDNA (which then go on to signal ATR). In this circumstance, ATM recruits ATR and they work in partnership to respond to this DNA damage. They are responsible for the “slow” DNA damage response that can eventually trigger p53 in healthy cells and thus lead to cell cycle arrest or apoptosis.\n\nATR as an essential protein \nMutations in ATR are very uncommon. The total knockout of ATR is responsible for early death of mouse embryos, showing that it is a protein with essential life functions. It is hypothesized that this could be related to its likely activity in stabilizing Okazaki fragments on the lagging strands of DNA during replication, or due to its job stabilizing stalled replication forks, which naturally occur. In this setting, ATR is essential to preventing fork collapse, which would lead to extensive double strand breakage across the genome. The accumulation of these double strand breaks could lead to cell death.\n\nClinical significance \n\nMutations in ATR are responsible for Seckel syndrome, a rare human disorder that shares some characteristics with ataxia telangiectasia, which results from ATM mutation.\n\nATR is also linked to familial cutaneous telangiectasia and cancer syndrome.\n\nInhibitors \n\nATR/ChK1 inhibitors can potentiate the effect of DNA cross-linking agents such as cisplatin and nucleoside analogues such as gemcitabine. The first clinical trials using inhibitors of ATR have been initiated by AstraZeneca, preferably in ATM-mutated chronic lymphocytic leukaemia (CLL), prolymphocytic leukaemia (PLL) or B-cell lymphoma patients and by Vertex Pharmaceuticals in advanced solid tumours. ATR provided and exciting point for potential targeting in these solid tumors, as many tumors function through activating the DNA damage response. These tumor cells rely on pathways like ATR to reduce replicative stress within the cancerous cells that are uncontrollably dividing, and thus these same cells could be very susceptible to ATR knockout. In ATR-Seckel mice, after exposure to cancer-causing agents, the damage DNA damage response pathway actually conferred resistance to tumor development (6). After many screen to identify specific ATR inhibitors, currently four made it into phase I or phase II clinical trials since 2013; these include AZD6738, M6620 (VX-970), BAY1895344, and M4344 (VX-803) (10). These ATR inhibitors work to help the cell proceed through p53 independent apoptosis, as well as force mitotic entry that leads to mitotic catastrophe.\n\nOne study by Flynn et al. found that ATR inhibitors work especially well in cancer cells which rely on the alternative lengthening of telomeres (ALT) pathway. This is due to RPA presence when ALT is being established, which recruits ATR to regulate homologous recombination. This ALT pathway was extremely fragile with ATR inhibition and thus using these inhibitors to target this pathway that keeps cancer cell immortal could provide high specificity to stubborn cancer cells.\n\nExamples include\n\n Berzosertib\n\nAging\nDeficiency of ATR expression in adult mice leads to the appearance of age-related alterations such as hair graying, hair loss, kyphosis (rounded upper back), osteoporosis and thymic involution. Furthermore, there are dramatic reductions with age in tissue-specific stem and progenitor cells, and exhaustion of tissue renewal and homeostatic capacity. There was also an early and permanent loss of spermatogenesis. However, there was no significant increase in tumor risk.\n\nSeckel syndrome\nIn humans, hypomorphic mutations (partial loss of gene function) in the ATR gene are linked to Seckel syndrome, an autosomal recessive condition characterized by proportionate dwarfism, developmental delay, marked microcephaly, dental malocclusion and thoracic kyphosis. A senile or progeroid appearance has also been frequently noted in Seckel patients. For many years, the mutation found in the two families first diagnosed with Seckel Syndrome were the only mutations known to cause the disease.\n\nIn 2012, Ogi and colleagues discovered multiple new mutations that also caused the disease. One form of the disease, which involved mutation in genes encoding the ATRIP partner protein, is considered more severe that the form that was first discovered. This mutation led to sever microcephaly and growth delay, microtia, micrognathia, dental crowding, and skeletal issues (evidenced in unique patellar growth). Sequencing revealed that this ATRIP mutation occurred most likely due to missplicing which led to fragments of the gene without exon 2. The cells also had a nonsense mutation in exon 12 of the ATR gene which led to a truncated ATR protein. Both of these mutations resulted in lower levels of ATR and ATRIP than in wild-type cells, leading to insufficient DNA damage response and the severe form of Seckel Syndrome noted above.\n\nResearchers also found that heterozygous mutations in ATR were responsible for causing Seckel Syndrome. Two novel mutations in one copy of the ATR gene caused under-expression of both ATR and ATRIP.\n\nHomologous recombinational repair\n\nSomatic cells of mice deficient in ATR have a decreased frequency of homologous recombination and an increased level of chromosomal damage. This finding implies that ATR is required for homologous recombinational repair of endogenous DNA damage.\n\nDrosophila mitosis and meiosis\nMei-41 is the Drosophila ortholog of ATR. During mitosis in Drosophila DNA damages caused by exogenous agents are repaired by a homologous recombination process that depends on mei-41(ATR). Mutants defective in mei-41(ATR) have increased sensitivity to killing by exposure to the DNA damaging agents UV , and methyl methanesulfonate. Deficiency of mei-41(ATR) also causes reduced spontaneous allelic recombination (crossing over) during meiosis suggesting that wild-type mei-41(ATR) is employed in recombinational repair of spontaneous DNA damages during meiosis.\n\nInteractions \n\nAtaxia telangiectasia and Rad3-related protein has been shown to interact with:\n\n BRCA1, \n CHD4, \n HDAC2, \n MSH2, \n P53 \n RAD17, and\n RHEB.\n\nReferences\n\nFurther reading\n\nExternal links \n Drosophila meiotic-41 - The Interactive Fly\n \n\nProteins\nEC 2.7.11",
"Alpha-thalassemia mental retardation syndrome (ATRX), also called alpha-thalassemia X-linked intellectual disability syndrome, nondeletion type or ATR-X syndrome, is an X-linked recessive condition associated with a mutation in the ATRX gene. Males with this condition tend to be moderately intellectually disabled and have physical characteristics including coarse facial features, microcephaly (small head size), hypertelorism (widely spaced eyes), a depressed nasal bridge, a tented upper lip and an everted lower lip. Mild or moderate anemia, associated with alpha-thalassemia, is part of the condition. Females with this mutated gene have no specific signs or features, but if they do, they may demonstrate skewed X chromosome inactivation.\n\nAtr-X Syndrome can also come with problems regulating Co2 Levels and normal bodily temperature regulation, the cause of this is widely debated but currently unknown, many children with Atr-X may need oxygen support long term through their entire life but cases that require long term oxygen are rare, however many children with Atr-x will require help with feeding such and NG/NJ tube feeding, this is not present in all cases however. Many children will also experience severe reflux issues and may require regular medical suction procedures.\n\nEpigenetics \n\"The role of ATRX as a regulator of heterochromatin dynamics raises the possibility that mutations in ATRX may lead to downstream transcriptional effects across the complex of genes or repetitive regions involved in the global context of the disorder, in addition to explaining phenotypical differences in these patients. For example, ATRX mutations affect the expression of alpha-globin gene cluster, causing alpha-thalassemia.\" ATRX interacts with the transcription co-factor DAXX and the alpha-globin gene cluster. Together they are all responsible for depositing the histone H3.3 at telomeric and pericentromeric regions. They are also responsible for regulating gene expression at these regions. ATRX is characterized by hypo- and hypermethylated regions. It's important to recognize that having a mutation in the ATRX gene does not necessarily guarantee that the patient has ATR-X syndrome. However, it is common within ATR-X patients to have global hypermethylation of usually unmethylated regions, like CpG islands and promoters. Several of the genes that undergo methylation changes are responsible for biosynthetic, metabolic, and methylation processes, and 42.5% of these genes are present in the telomeric and pericentromeric regions. A couple of these genes include: PRDM9 and 2-BHMT2. PRDM9 encodes for a histone H3 lysine-4 trimethyltransferase, which is a known target for ATRX, and 2-BHMT2 encodes for betaine-homocysteine methyltransferase, which catalyzes the methylation of homocysteine.\n\nATR association can be separated into two groups. ATR-16 syndrome patients have a 1-2Mb deletion on the top of the chromosome 16 p-arm and are associated with a Mendelian inheritance of a-thalassemia. ATR-X syndrome patients have no deletion in chromosome 16, a-thalassemia is rare, and this syndrome is consistent with X-linked recessive inheritance. However, both groups have similar phenotypes. The phenotypes resulting from ATR-X are due to skewed x-inactivation. When X-inactivation occurs randomly, half of the cells in the carrier female would contain the abnormality. When X-inactivation is skewed, more than 50% of one X chromosome are becoming inactive, and if that X-chromosome is passed to a male, they will have a higher percent of heterochromatin. The ATR-X locus spans the control center Xist, which regulates X-inactivation. When there is a XH2 mutation in the ATR-X locus, this indicates Xist to inactivate the chromosome increasing the amount of heterochromatin in males.\n\nEpigenetics is also present among transcriptional regulators. ATR-X is caused by XH2 mutations in the region Xq13.3, and XH2 belongs to the subgroup SNF2. This group is important for regulating the transcription of the alpha genes.\n\nDiagnosis\n\nIf ATR-X is suspected based on symptoms, diagnosis can be done via Genome testing. If the results are conclusive with Atr-x syndrome, female members of the same family will often be asked to partake in genome testing to see if anyone else in the family may possess this gene.\n\nNotes\n\nReferences\n\nFurther reading\n GeneReviews/NCBI/NIH/UW entry on Alpha-Thalassemia X-Linked Mental Retardation Syndrome; ATRX Syndrome; Alpha Thalassemia/Mental Retardation, X-Linked; XLMR-Hypotonic Face Syndrome\n OMIM entries on Alpha-Thalassemia X-Linked Mental Retardation Syndrome\n\nExternal links \n\nGenetic diseases and disorders\nSyndromes"
] |
[
"Grover Norquist",
"Americans for Tax Reform",
"How was Norquist involved with tax reform?",
"Norquist is best known for founding Americans for Tax Reform (ATR)",
"what did ATR do?",
"The primary policy goal of Americans for Tax Reform is to reduce government revenues as a percentage of the GDP.",
"What else is significant about ATR?",
"As a nonprofit organization, Americans for Tax Reform is not required to disclose the identity of its contributors."
] |
C_b2046550e77c4ca9bbbcc7a3d5a4a3c8_1
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Was this successful?
| 4 |
Was the Americans for Tax Reform successful?
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Grover Norquist
|
Norquist is best known for founding Americans for Tax Reform (ATR) in 1985, which he says was done at the request of then-President Ronald Reagan. Referring to Norquist's activities as head of ATR, Steve Kroft, in a 60 Minutes episode that aired on November 20, 2011, claimed that "Norquist has been responsible, more than anyone else, for rewriting the dogma of the Republican Party." The primary policy goal of Americans for Tax Reform is to reduce government revenues as a percentage of the GDP. ATR states that it "opposes all tax increases as a matter of principle." Americans for Tax Reform has supported Taxpayer Bill of Rights (TABOR) legislation and transparency initiatives, while opposing cap-and-trade legislation and efforts to regulate health care. In 1993, Norquist launched his Wednesday Meeting series at ATR headquarters, initially to help fight President Clinton's healthcare plan. The meeting eventually became one of the most significant institutions in American conservative political organizing. The meetings have been called "a must-attend event for Republican operatives fortunate enough to get an invitation", and "the Grand Central station of the conservative movement." Medvetz (2006) argues that the meetings have been significant in "establishing relations of...exchange" among conservative subgroups and "sustaining a moral community of conservative activists." As a nonprofit organization, Americans for Tax Reform is not required to disclose the identity of its contributors. Critics, such as Sen. Alan Simpson, have asked Norquist to disclose his contributors; he has declined but has said that ATR is financed by direct mail and other grassroots fundraising efforts. According to CBS News, "a significant portion appears to come from wealthy individuals, foundations and corporate interests." CANNOTANSWER
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Americans for Tax Reform has supported
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Grover Glenn Norquist (born October 19, 1956) is an American political activist and tax reduction advocate who is founder and president of Americans for Tax Reform, an organization that opposes all tax increases. A Republican, he is the primary promoter of the Taxpayer Protection Pledge, a pledge signed by lawmakers who agree to oppose increases in marginal income tax rates for individuals and businesses, as well as net reductions or eliminations of deductions and credits without a matching reduced tax rate. Prior to the November 2012 election, the pledge was signed by 95% of all Republican members of Congress and all but one of the candidates running for the 2012 Republican presidential nomination.
Early life and education
Norquist grew up in Weston, Massachusetts. He is the son of Carol (née Lutz) and Warren Elliott Norquist (a vice president of Polaroid Corporation), and is of Swedish ancestry. His brother, David Norquist has served in senior posts in Republican administrations at both the United States Department of Defense and the United States Department of Homeland Security. Norquist became involved with politics at an early age when he volunteered for the 1968 Nixon campaign, assisting with get out the vote efforts. He graduated from Weston High School and enrolled at Harvard University in 1974, where he earned his A.B. and M.B.A.
At college, Norquist was an editor at the Harvard Crimson and helped to publish the libertarian-leaning Harvard Chronicle. He was a member of the Hasty Pudding Theatricals. Norquist has said: "When I became 21, I decided that nobody learned anything about politics after the age of 21." He attended the Leadership Institute in Arlington, Virginia, an organization that teaches conservative Americans how to influence public policy through activism and leadership.
Career
Early career
Early in his career, Norquist was executive director of both the National Taxpayers Union and the national College Republicans, holding both positions until 1983. He served as Economist and Chief Speechwriter at the U.S. Chamber of Commerce from 1983 to 1984.
Norquist traveled to several war zones to help support anti-Soviet guerrilla armies in the second half of the 1980s. He worked with a support network for Oliver North's efforts with the Nicaraguan Contras and other insurgencies, in addition to promoting U.S. support for groups including Mozambique's RENAMO and Jonas Savimbi's UNITA in Angola and helping to organize anti-Soviet forces in Laos. In 1985, he went to a conference in South Africa sponsored by South African businesses called the "Youth for Freedom Conference", which sought to bring American and South African conservatives together to end the anti-apartheid movement. Norquist represented the France-Albert Rene government of Seychelles as a lobbyist from 1995 until 1999. Norquist's efforts were the subject of Tucker Carlson's 1997 article in The New Republic, "What I sold at the revolution."
Americans for Tax Reform
Norquist is best known for founding Americans for Tax Reform (ATR) in 1985, which he says was done at the request of then-President Ronald Reagan. Referring to Norquist's activities as head of ATR, Steve Kroft, in a 60 Minutes episode that aired on November 20, 2011, claimed that "Norquist has been responsible, more than anyone else, for rewriting the dogma of the Republican Party."
The primary policy goal of Americans for Tax Reform is to reduce government revenues as a percentage of the GDP. ATR states that it "opposes all tax increases as a matter of principle." Americans for Tax Reform has supported Taxpayer Bill of Rights (TABOR) legislation and transparency initiatives, while opposing cap-and-trade legislation and efforts to regulate health care.
In 1993, Norquist launched his Wednesday Meeting series at ATR headquarters, initially to help fight President Clinton's healthcare plan. The meeting eventually became one of the most significant institutions in American conservative political organizing. The meetings have been called "a must-attend event for Republican operatives fortunate enough to get an invitation", and "the Grand Central station of the conservative movement." Medvetz (2006) argues that the meetings have been significant in "establishing relations of ... exchange" among conservative subgroups and "sustaining a moral community of conservative activists."
As a nonprofit organization, Americans for Tax Reform is not required to disclose the identity of its contributors. Critics, such as Sen. Alan Simpson, have asked Norquist to disclose his contributors; he has declined but has said that ATR is financed by direct mail and other grassroots fundraising efforts. According to CBS News, "a significant portion appears to come from wealthy individuals, foundations and corporate interests."
Taxpayer Protection Pledge
Prior to the November 2012 election, 238 of 242 House Republicans and 41 out of 47 Senate Republicans had signed ATR's "Taxpayer Protection Pledge", in which the pledger promises to "oppose any and all efforts to increase the marginal income tax rate for individuals and business; and to oppose any net reduction or elimination of deductions and credits, unless matched dollar for dollar by further reducing tax rates."
The November 6, 2012 elections resulted in a decline in the number of Taxpayer Protection Pledge signatories in both the upper and lower houses of the 113th Congress: from 41 to 39 in the Senate, and from 238 to "fewer than ... 218" in the House of Representatives. According to journalist Alex Seitz-Wald, losses in the election by Norquist supporters and the "fiscal cliff" have emboldened and made more vocal critics of Norquist.
In November 2011, Senate Majority leader Harry Reid (D-NV) blamed Norquist's influence for the Joint Select Committee on Deficit Reduction's lack of progress, claiming that Congressional Republicans "are being led like puppets by Grover Norquist. They're giving speeches that we should compromise on our deficit, but never do they compromise on Grover Norquist. He is their leader." Since Norquist's pledge binds signatories to opposing deficit reduction agreements that include any element of increased tax revenue, some Republican deficit hawks now retired from office have stated that Norquist has become an obstacle to deficit reduction. Former Republican Senator Alan Simpson (R-WY), co-chairman of the National Commission on Fiscal Responsibility and Reform, has been particularly critical, describing Norquist's position as "[n]o taxes, under any situation, even if your country goes to hell."
Other political activities
National politics
Norquist was listed as one of the five primary leaders of the post-Goldwater conservative movement by Nina Easton in her 2000 book, Gang of Five. Working with eventual Speaker Newt Gingrich, Norquist was one of the co-authors of the 1994 Contract with America, and helped to rally grassroots efforts, which Norquist later chronicled in his book Rock the House. Norquist also served as a campaign staff member on the 1988, 1992 and 1996 Republican Platform Committees.
Norquist was instrumental in securing early support for the presidential campaign of then-Texas Governor George W. Bush, acting as his unofficial liaison to the conservative movement. He campaigned for Bush in both 2000 and 2004. After Bush's first election, Norquist was a key figure involved in crafting Bush's tax cuts. John Fund of the Wall Street Journal dubbed Norquist "the Grand Central Station" of conservatism and told The Nation: "It's not disputable" that Norquist was the key to the Bush campaign's surprising level of support from movement conservatives in 2000.
He has long been active in building bridges between various ethnic and religious minorities and the free-market community through his involvement with Acton Institute, Christian Coalition and Toward Tradition.
He has also "announced his plan to assemble a center-right coalition to discuss pulling out of Afghanistan to save hundreds of billions of dollars."
Norquist is active in Tea Party politics. Talking at a Florida rally he said "tea party groups should serve as the 'exoskeleton' that protects newly elected Republicans" from pressures to increase government spending.
Comprehensive immigration reform is an interest of Norquist's, who believes that the United States should have "dramatically higher levels of immigration" than it currently does.
Involvement with Jack Abramoff
According to a 2011 memoir by former lobbyist Jack Abramoff, Norquist was one of Abramoff's first major Republican party contacts. Norquist and Americans for Tax Reform were also mentioned in Senate testimony relating to the Jack Abramoff Indian lobbying scandal which resulted in a 2006 guilty plea by Abramoff to three criminal felony counts of defrauding of American Indian tribes and corrupting public officials. Records released by the Senate Indian Affairs Committee allege that ATR served as a "conduit" for funds that flowed from Abramoff's clients to surreptitiously finance grass-roots lobbying campaigns. Norquist has denied that he did anything wrong, and has not been charged with any crime.
State and local politics
Norquist's national strategy has included recruiting state and local politicians to support ATR's stance on taxes. Norquist has helped to set up regular meetings for conservatives in many states. These meetings are modeled after his Wednesday meetings in Washington, with the goal of creating a nationwide network of conservative activists that he can call upon to support conservative causes, such as tax cuts and deregulation. There are now meetings in 48 states.
In 2004, Norquist helped California Governor Arnold Schwarzenegger with his plan to privatize the CalPERS system. In Virginia's 2005 Republican primaries, Norquist encouraged the defeat of a number of legislators who voted for higher taxes.
Boards and other activities
Norquist serves on the boards of directors of numerous organizations including the National Rifle Association, the American Conservative Union, the Hispanic Leadership Fund, the Indian-American Republican Caucus, and ParentalRights.org, an organization that wishes to add a Parental Rights Amendment to the United States Constitution. In 2010, Norquist joined the advisory board of GOProud, a political organization representing lesbian, gay, bisexual, and transgender conservatives and their allies, for which he was criticized by the Family Research Council. Norquist also sits on a six-person advisory panel that nominates [[Time Person of the Year|Time'''s Person of the Year]]. In business, Norquist was a co-founder of the Merritt Group, later renamed Janus-Merritt Strategies. He is a member of the Council on Foreign Relations. Norquist signed the Madrid Charter, a document drafted by the conservative Spanish political party Vox that describes left-wing groups as enemies of Ibero-America involved in a "criminal project" that are "under the umbrella of the Cuban regime".
Views on government
Norquist favors dramatically reducing the size of government. He has been noted for his widely quoted quip from a 2001 interview with NPR's Morning Edition:
Journalist William Greider quotes him saying his goal is to bring America back to what it was "up until Teddy Roosevelt, when the socialists took over. The income tax, the death tax, regulation, all that." When asked by journalist Steven Kroft about the goal of chopping government "in half and then shrink it again to where we were at the turn of the [20th] century" before Social Security and Medicare, Norquist replied, "We functioned in this country with government at eight percent of GDP for a long time and quite well."
Some smaller government advocates argue that Norquist's "obsession with tax revenue" is actually counterproductive with respect to minimizing the size of government. Although the Americans for Tax Reform mission statement is "The government's power to control one's life derives from its power to tax. We believe that power should be minimized", critics at the Cato Institute have argued that "holding the line on taxes constrains only one of the four tools (taxes, tax deductions, spending without taxation, and regulation) used by government to alter economic outcomes."
Norquist published Leave Us Alone: Getting the Government's Hands Off Our Money, Our Guns, Our Lives, in 2008. In 2012, he published Debacle: Obama's War on Jobs and Growth and What We Can Do Now to Regain Our Future, with John R. Lott, Jr. He has served as a monthly "Politics" columnist and contributing editor to The American Spectator.
Norquist has also called for reductions in defense spending as one way to reduce the size of government.
Norquist has endorsed a non-interventionist foreign policy and cuts to the US military budget.
Personal life
Norquist has described himself as a "boring white bread Methodist." In 2004, at age 48, he married a Palestinian Muslim named Samah Alrayyes, a Kuwaiti PR specialist who was formerly a director of the Islamic Free Market Institute and specialist at the Bureau of Legislative and Public Affairs at United States Agency for International Development (USAID). The couple has adopted two children, both girls, one of whom is from the city of Bethlehem.
According to friend and former roommate John Fund, Norquist's devotion to his political causes is "monk-like" and comparable to that of Ralph Nader.
Norquist has competed three times in the comedy fundraiser "Washington's Funniest Celebrity" and placed second in 2009. Humorist P. J. O'Rourke has described Norquist as "Tom Paine crossed with Lee Atwater plus just a soupçon of Madame Defarge".
Norquist and his wife attended the annual Burning Man festival in August 2014 in Black Rock, Nevada. Norquist explained that he wished to attend because, "There's no government that organizes this. That's what happens when nobody tells you what to do. You just figure it out. So Burning Man is a refutation of the argument that the state has a place in nature."
Writings
Rock the House. Ft. Lauderdale, Fla: VYTIS Press, 1995.
Taxes: The Economic & Philosophical Necessity of Real Reform. Minneapolis, MN: Center of the American Experiment, 1996.
"America is freedom" chapter from Deaver, Michael K. Why I Am a Reagan Conservative, Chapter New York: W. Morrow, 2005.
Leave Us Alone: Getting the Government's Hands Off Our Money, Our Guns, Our Lives. New York, NY: W. Morrow, 2008.
Debacle: Obama's War on Jobs and Growth and What We Can Do Now to Regain Our Future. Hoboken, NJ: John Wiley & Sons, Inc., 2012.
See also
Democratic International
K Street Project
Starve the beast
References
External links
Official biography from Americans for Tax Reform
Column archive at National Review Online Column archive at The Guardian
Transcript: "Bill Moyers Interviews Grover Norquist", NOW with Bill Moyers, January 10, 2003
Grover Norquist on Leave Us Alone, National Review Online, 2008(?)
"The Pledge: Grover Norquist's hold on the GOP", 60 Minutes'', November 20, 2011, video interview and related reports
A Lesson in Conservative Optimism, The Weekend Interview by Stephen Moore, The Wall Street Journal, November 23, 2012
1956 births
20th-century American male writers
20th-century American non-fiction writers
20th-century Methodists
21st-century American male writers
21st-century American non-fiction writers
21st-century Methodists
Activists from Massachusetts
American columnists
American libertarians
American lobbyists
American male non-fiction writers
American Methodists
American people of Swedish descent
American political writers
The American Spectator people
Christian libertarians
College Republicans
Harvard Business School alumni
Harvard Advocate alumni
Harvard College alumni
The Harvard Crimson people
Hasty Pudding alumni
Living people
Massachusetts Republicans
Members of the Council on Foreign Relations
Non-interventionism
Pennsylvania Republicans
People from Washington, D.C.
People from Weston, Massachusetts
Signers of the Madrid Charter
Tea Party movement activists
Washington, D.C. Republicans
Writers from Massachusetts
Writers from Washington, D.C.
Weston High School (Massachusetts) alumni
| true |
[
"\"Sin Despertar\" is a pop song performed by Chilean band Kudai. It was released as the first single of their debut album Vuelo. This single was also their first single as Kudai, after they gave up their old name band Ciao. This single was very successful in Chile and Argentina and later in the rest of Latin America, including Mexico.\n\nMusic video\nKudai's music video for their first single ever \"Sin Despertar\", was filmed in Santiago, Chile and the location used in this music videos was in O'Higgins Park, Movistar Arena Santiago, the video was premiered on 24 June 2004 on MTV, and this was very successful on Los 10+ Pedidos and Top 20.\n\nCharts\n\nReferences\n\nExternal links \nKudai Official Site\nEMI Music Mexico\n\n2004 singles\nKudai songs\n2005 singles\n2006 singles\n2004 songs",
"Rough and Ready Volume 2 is a studio album released by Shabba Ranks. This album was not as successful as Volume 1 and it was going to be difficult to create an album as successful as its predecessor, X-tra Naked, which won a Grammy. Volume 2 was criticised for lacking variety.\n\nTrack listing\n\nReferences\n\n1993 albums\nShabba Ranks albums\nEpic Records albums"
] |
[
"Joe Gibbs",
"Second stint with Redskins (2004-2008)"
] |
C_6b9bf549ec084c2ca49cb132d8f372d1_0
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Did Gibbs make the playoffs in his second stint with the team?
| 1 |
Did Gibbs make the playoffs in Gibbs' second stint with the Redskins?
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Joe Gibbs
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Throughout his retirement, many NFL owners approached Gibbs hoping to lure him out of retirement, but to no avail. Some owners even offered to move his entire NASCAR racing team to their team's city if he came back. The only team he seriously considered coming back for was the Carolina Panthers when they first joined the NFL as an expansion in 1995. However, he did not believe he would be able to manage his time between his race team and coaching. In 1999, he was part of a group that was trying to buy the Redskins but ultimately failed. In 2002, Gibbs and a small group of investors bought five percent of the Atlanta Falcons from owner Arthur Blank for $27 million. It wasn't until late 2003 when Gibbs really started to catch the football fever again. Blank and his general manager, Rich McKay moved quickly to interview him for the Falcons' vacant head coaching position due to the firing of Dan Reeves. However, when Gibbs found out that Steve Spurrier resigned as the Redskins' head coach, they realized that even though Gibbs was one of the team's minority owners, his loyalty still lies with the Redskins. It is well documented that Daniel Snyder had been turned down by Gibbs several times before. On December 31, 2003, Snyder's private plane (Redskin One) was spotted at an airport outside of Charlotte, North Carolina. After spending 11 years in retirement from the NFL, Snyder successfully lured Gibbs out of retirement. Gibbs' change of heart was quite a surprise to the football and NASCAR worlds. During his January 7 press conference, a visibly emotional Snyder welcomed him back. Gibbs then stated that even though he enjoyed NASCAR immensely, he had missed coaching in the NFL. And although he had fielded offers in the past, he could only see himself coaching for the Redskins. Because of his credibility, Gibbs was able to assemble one of the largest and most experienced coaching staffs in the NFL. Many coaches from his previous tenure with the team returned with Gibbs as well, including offensive line coach/assistant head coach Joe Bugel, offensive coordinator Don Breaux, quarterbacks coach Jack Burns, and tight ends coach Rennie Simmons. Gibbs was able to lure former Buffalo Bills head coach Gregg Williams to join the Redskins to run the defense and hired one of his former running backs, Ernest Byner to serve as running backs coach. Overall, many of his assistant and position coaches were either former head coaches and/or held top assistant coaching positions with other NFL teams. Gibbs left his racing team in the hands of his eldest son, J.D., while his other son, Coy, joined him as an assistant with the Redskins. CANNOTANSWER
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CANNOTANSWER
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Joe Jackson Gibbs (born November 25, 1940) is an American auto racing team owner and former professional football coach. In football, he was head coach for the Washington Redskins of the National Football League (NFL) from 1981 to 1992, and again from 2004 to 2007. During his first stint with the Redskins, he led them to eight playoff appearances, four NFC Championship titles, and three Super Bowl titles over 12 seasons. Gibbs is the only head coach to have won Super Bowls with three different starting quarterbacks. Gibbs is widely regarded as one of the greatest coaches in NFL history.
After retiring at the end of the 1992 season, he switched focus to NASCAR, forming the team Joe Gibbs Racing, which has since won five NASCAR Cup Series championships. In 2004, Gibbs came out of retirement to rejoin the Redskins as head coach, staying with them until 2007 when he again retired following the season's end. Gibbs was inducted into the Pro Football Hall of Fame in 1996, as well as being named to the NFL 100 All-Time Team. Gibbs was also inducted into the NASCAR Hall of Fame in 2020. Gibbs is the only person to have won a Super Bowl and a NASCAR Cup Series Championship, and be inducted into both the Pro Football and NASCAR Halls of Fame.
Early career
Born in Mocksville, North Carolina, Gibbs is the oldest of two sons of Jackson Ceufud (1916–1989) and Winnie Era (Blalock) Gibbs (1915–2000). Gibbs graduated from Santa Fe High School in 1959, where he was the star quarterback. Gibbs attended Cerritos Junior College and then San Diego State University (SDSU), coached by Don Coryell. Gibbs graduated from SDSU in 1964 and earned a master's degree in 1966.
Gibbs began his career with a stint as offensive line coach at San Diego State under Coryell (1964–1966). He held the same position under Bill Peterson at Florida State (1967–1968) before serving under John McKay at Southern California (1969–1970) and Frank Broyles at Arkansas (1971–1972). Gibbs then advanced to the National Football League, hired as the offensive backfield coach for the St. Louis Cardinals (1973–1977) by head coach Don Coryell. After a season as offensive coordinator for the Tampa Bay Buccaneers (1978) under McKay, Gibbs rejoined Coryell with the San Diego Chargers (1979–1980).
As the offensive coordinator for San Diego, Gibbs spearheaded the highly successful "Air Coryell" offense. Using a sophisticated passing attack, the Chargers and quarterback Dan Fouts set multiple offensive records during Gibbs' two seasons there. Remarkably, the Chargers averaged more than 400 yards of offense per game during their 1980 season. After 17 years of coaching as an assistant, the Washington Redskins offered Gibbs their head coaching position.
Washington Redskins (1981–1992)
After firing then-head coach Jack Pardee, Redskins owner Jack Kent Cooke was on the lookout for candidates. When general manager Bobby Beathard pointed out the 40-year-old San Diego assistant coach, Cooke, who had a keen eye for spotting leadership and an ability to teach (he also hired Jerry West and Sparky Anderson to their first managerial/executive jobs), saw Gibbs' potential during an interview and hired him.
Gibbs' first season with the Redskins started inauspiciously when the team lost their first five games. Cooke famously expressed confidence in Gibbs, declaring that the team would finish 8-8. The losses and Cooke's confidence served as a catalyst, and the newly motivated team improved and reached an even 8–8 record in 1981.
Gibbs' second season with the Redskins, which was shortened by a players strike, saw them defeat the Miami Dolphins 27–17 in Super Bowl XVII. In 1983, Gibbs' success continued with a 14–2 regular-season record and a win against the Los Angeles Rams 51–7 at home, in the divisional round of the playoffs. The Redskins once again won an NFC Championship, defeating the San Francisco 49ers 24–21 on a last-second field goal, advancing to Super Bowl XVIII. The Redskins were installed as a 2-point favorite by Nevada books going into the game, but were soundly defeated by the Los Angeles Raiders 38–9.
The 1984 Redskins won the NFC East with an 11–5 record and hosted a home playoff game against the Chicago Bears but lost 23–19.
Gibbs coached the 1985 Redskins to a 10–6 regular-season record and barely missed the playoffs. During the season Joe Theismann broke his leg during a Monday Night Football game against the New York Giants, but the Redskins still won the game with Jay Schroeder at quarterback.
In 1986, Gibbs coached the team to a 12–4 regular-season record and defeated the Los Angeles Rams 19–7 in the wild card playoffs, then upset the defending champion Chicago Bears 27–13 in the divisional round, on the road, to get back to the NFC Championship game against the New York Giants. The Giants would win 17–0. It was to be Gibbs' only NFC championship game loss.
The 1987 Redskins made the playoffs and again defeated the Chicago Bears 21–17 on the road in the divisional round, then beat the Minnesota Vikings 17–10 at home in the NFC Championship Game, then at Super Bowl XXII, they rode the arm of quarterback Doug Williams to blow out the Denver Broncos 42–10.
Four years later, the Redskins won their first 11 games before finishing the season 14–2, and cruised through the playoffs with home victories over the Atlanta Falcons (24–7) and Detroit Lions (41–10). In Super Bowl XXVI, the Redskins were up 24–0 on the Buffalo Bills just 16 seconds into the third quarter, and 37–10 with over 11 minutes to go when Gibbs pulled most of his starters. The Bills would score two cosmetic touchdowns for a final score of 37–24. The victory gave Gibbs and the team their third Super Bowl title.
Gibbs returned for the 1992 regular season to defend the Redskins' Super Bowl crown from the previous year. The Redskins finished with a lesser record at 9–7 and 3rd place in the NFC East. They needed a bit of help to make the playoffs and they got it after a loss by the Green Bay Packers got them in as the last Wild Card entry. In the Wild Card round, the Redskins defeated the Minnesota Vikings on the road, by the score of 24–7, however they would fall in the Divisional Round to the San Francisco 49ers in a road game by the score of 20–13, ending the Redskins' hopes of retaining their Super Bowl crown. Two months after Super Bowl XXVII, Gibbs retired on March 5, 1993, surprising many in the organization and around the league. Center Jeff Bostic called it "probably the biggest shock I've gotten in my life." A notorious workaholic, he had begun to suffer health problems, and he cited a desire to spend more time with his family.
From 1994 to 1997, Gibbs served as a color analyst on NBC Sports' NFL pregame show.
In 1996, Gibbs was enshrined in the Pro Football Hall of Fame. He was one of the winningest coaches in the NFL, with a record of 124–60, and a post-season record of 16–5. His combined winning percentage of .683 was third all-time (behind Vince Lombardi and John Madden). In his 12 seasons so far, the Redskins won 4 NFC East titles, reached the playoffs 8 times, and finished with a losing record only one season (7–9 in 1988). Gibbs is the only NFL coach to win three Super Bowls with three different starting quarterbacks and three different starting running backs.
Style of play
Although Gibbs helped craft a passing-oriented attack during his time in San Diego, his Redskins teams incorporated a smash-mouth, rushing-oriented attack called the counter trey. By building a strong offensive line (known as "The Hogs") Gibbs was able to control the line of scrimmage, allowing workhorse running backs John Riggins, George Rogers, and Earnest Byner to power the ground game. Gibbs added a deep passing attack which complemented the ground game, utilizing agile receivers such as Art Monk, Gary Clark, and Ricky Sanders. Gibbs' offense was aided by aggressive defensive units under the direction of defensive coordinator Richie Petitbon.
Gibbs' system was robust enough to be successful without a Hall-of-Fame-caliber quarterback at the helm. The Redskins' Super Bowl victories were won featuring Joe Theismann, Doug Williams, and Mark Rypien—capable players who were very successful along with their strong supporting cast.
Gibbs is credited with inventing the single back, double or triple tight end set. He used it to neutralize Hall of Fame linebacker Lawrence Taylor, realizing that to successfully block him with a running back was impossible. An extra tight end and a tackle were required as well. The extra tight end provided additional protection for the quarterback. Gibbs was also credited for creating the Trips formation: stacking three wide receivers to one side. Gibbs incorporated shifts and motions for which his offenses were known. The formations created mismatches and confused the opposing defenses which were subsequently exploited. He is one of few coaches that utilized the H-back position prominently in his offense.
Joe Gibbs Racing (1992–present)
Gibbs created his NASCAR team, Joe Gibbs Racing in 1992, a year before he first retired from the NFL. The first driver for his team was Dale Jarrett (1992–1994), with the sponsor Interstate Batteries, and the number 18. His son, J. D. Gibbs, was the president of Joe Gibbs Racing and oversaw daily operations of each of the teams since his father's return to the NFL.
The team currently fields four cars in the NASCAR Cup Series and two in the NASCAR Xfinity Series.
NASCAR
Cup Series teams
No. 11 Denny Hamlin
No. 18 Kyle Busch
No. 19 Martin Truex Jr.
No. 20 Christopher Bell
Xfinity Series teams
No. 19 Brandon Jones
No. 54 Ty Gibbs
NASCAR championships
2000 – Bobby Labonte, No. 18 Interstate Batteries Pontiac, Winston Cup Series
2002 – Tony Stewart, No. 20 Home Depot Pontiac, Winston Cup Series
2005 – Tony Stewart, No. 20 Home Depot Chevrolet, Nextel Cup Series
2007 – Joey Logano, No. 20 Joe Gibbs Driven Racing Oil Chevrolet, Busch East Series
2009 – Kyle Busch, No. 18 Z-Line Toyota, Nationwide Series
2015 – Kyle Busch, No. 18 M&M's Toyota, Sprint Cup Series
2016 – Daniel Suárez, No. 19 Arris Toyota, Xfinity Series
2019 – Kyle Busch, No. 18 M&M's Toyota, Monster Energy Cup Series
2021 - Daniel Hemric, No. 18 Poppy Bank Toyota, Xfinity Series
NHRA
Beginning in 1995, Gibbs fielded three cars in the NHRA, one, in each professional category:
the Funny Car, driven by Cruz Pedregon
the Top Fuel dragster, driven by Cory McClenathan
the Pro Stock Firebird, driven by Jim Yates
Yates would bring home 2 NHRA Winston Pro Stock Championships in 1996 and 1997. McDonald's was the primary sponsor on all three cars from 1995 to 1997. In 1998 Cruz Pedregon would be sponsored by Interstate Batteries and Jim Yates by SplitFire.
Pedregon won Gibbs' first NHRA National Event as a team owner at the 1995 NHRA Chief Auto Parts Winternationals. He would couple that with a victory at the '95 NHRA U.S. Nationals, 3rd for Pedregon in 4 years at the U.S. Nationals. Pedregon continued to race for Gibbs until mid-season (Englishtown, New Jersey) in 1999. Ending with a final-round appearance, Pedregon left to race on his own, and was replaced by Tommy Johnson Jr. would win his first Fuel Funny Car win with Gibbs at the '99 NHRA Keystone Nationals and would go to the next two final rounds, scoring another victory in the process. It was announced that after the '99 season, Gibbs team would be reduced to a two-car team, and the Funny Car team was parked from then on.
McClenathan finished 2nd in NHRA Winston Top Fuel points in both 1997 and 1998 with Gibbs. In 1997, McClenathan went on a hot streak, sweeping the famed Western Swing (Denver, Sonoma, Seattle) and a total four wins in a row, 5 in 6 races since Denver, including a final round at the U.S. Nationals in '97. He also took Gibbs' MBNA Top Fuel Dragster to a $200,000 payday, winning the 2000 NHRA Winston No-Bull Showdown, pitting Top Fuel Dragsters against Funny Cars in a 24 car shootout.
Gibbs announced that he would focus solely on his NASCAR teams following the 2000 season, ending the six-year-long relationship with NHRA.
Motocross
In 2008, Gibbs branched out into motorcycle racing, forming the JGRMX team competing in the AMA motocross and supercross championships. The team is based in Huntersville, North Carolina and is managed by Gibbs' son, Coy Gibbs.
Second stint with Redskins (2004–2007)
Throughout his retirement, many NFL owners approached Gibbs hoping to lure him out of retirement, but to no avail. Some owners even offered to move his entire NASCAR racing team to their team's city if he came back. The only team he seriously considered coming back for was the Carolina Panthers when they first joined the NFL as an expansion in 1995. However, he did not believe he would be able to manage his time between his race team and coaching. In 1999, he was part of a group that was trying to buy the Redskins but ultimately failed. In 2002, Gibbs and a small group of investors bought five percent of the Atlanta Falcons from owner Arthur Blank for $27 million. It wasn't until late 2003 when Gibbs really started to catch the football fever again. Blank and his general manager, Rich McKay moved quickly to interview him for the Falcons' vacant head coaching position due to the firing of Dan Reeves.
In January 2004, Gibbs accepted an offer from Redskins owner Daniel Snyder to return as the team's head coach. At his press conference, Gibbs stated that even though he enjoyed NASCAR, he had also missed coaching in the NFL. Gibbs left his racing team in the hands of his eldest son, J.D., while his other son, Coy, joined him as an assistant with the Redskins. Many coaches from his previous tenure with the team returned with Gibbs as well, including offensive line coach/assistant head coach Joe Bugel, offensive coordinator Don Breaux, quarterbacks coach Jack Burns, and tight ends coach Rennie Simmons. Gibbs also hired former Buffalo Bills head coach Gregg Williams to join the team to run the defense and hired one of his former running backs, Earnest Byner, to serve as running backs coach.
In 2004, Gibbs had what was, up to that point, the worst season of his career with a 6-10 finish. However, the team did finish the season on a high note with a 21–18 victory over playoff-bound Minnesota. The defense also finished the season ranked third in yards allowed. Hoping to improve on the previous season's dismal passing attack, Gibbs added former Jacksonville Jaguars offensive coordinator Bill Musgrave as his quarterbacks coach. Having coached new Redskins quarterback Mark Brunell when they both were in Jacksonville, they easily formed a rapport. Musgrave's input allowed the Redskins to add a few new wrinkles to their playbook. For the first time under Gibbs, the Redskins offense utilized the shotgun formation. In the Wild Card playoff game, Gibbs led his team to a 17–10 victory over the Tampa Bay Buccaneers, to whom the Redskins suffered a 36–35 defeat earlier in the year. In the next round of the playoffs, however, the Redskins could not replicate their early-season victory over the Super Bowl-bound Seattle Seahawks, and lost to the eventual NFC Champion by the score of 20–10.
During the 2006 offseason, Gibbs hired Kansas City Chiefs' offensive coordinator Al Saunders to be associate head coach. Saunders came from a similar background as Gibbs, as both learned under Don Coryell. He took over for Gibbs as the team's primary play-caller upon joining the Redskins. This allowed Gibbs to focus more on his role as head coach and CEO and devote more time to personnel matters, defense, and special teams. Gibbs also added former Buffalo Bills defensive coordinator Jerry Gray to his staff as secondary/cornerbacks coach.
The Redskins finished 5–11 in 2006, the team's worst regular-season record under him. The following season the team suffered a tragedy when free safety Sean Taylor was shot in his home during a home robbery in November 2007 and died in the hospital a day later. However, the Redskins still qualified for the playoffs following the completion of a 9–7 regular season before being defeated by the NFC West division champions Seattle Seahawks in the first round. Gibbs retired as head coach and president in January 2008, citing family obligations. During Gibbs' four-year return to the Redskins, the team qualified for the playoffs twice, once more than it qualified for the playoffs during his 11-year absence. He was succeeded as head coach by Jim Zorn.
Head coaching record
Personal life
Gibbs currently resides in Charlotte, North Carolina, with his wife, the former Patricia Escobar. They had two sons, J. D. Gibbs and Coy Gibbs, and eight grandchildren. J. D. and his wife, Melissa, had four sons: Jackson, Miller, Jason, and Taylor. Coy Gibbs and wife Heather have three sons Ty, Case, Jet, and daughter Elle. In January 2007, Gibbs revealed that Taylor was diagnosed with leukemia, adding that his grandson had undergone surgery and received chemotherapy treatments. Gibbs is a devout Christian. His son J.D. died on January 11, 2019 after a long battle with neurological brain disease diagnosed in 2015.
Politics
On September 5, 2008, Gibbs addressed the 2008 Republican National Convention, during which he offered his support for John McCain and his hope that the McCain-Palin ticket would lead to a 'spiritual awakening' in the United States. Gibbs has long been open about his Christian faith, but notoriously reserved about articulating his political positions, because, as the old Washington joke goes, "The Redskins are the only thing that unites the town." As one of the most sought after A-List figures in Washington social circles for over a quarter-century (and even being referred to as "the most popular man in Washington" by the Washington Post), Gibbs admitted being uneasy addressing the convention, stating that it was "a little awkward to put on a partisan hat."
Awards and honors
NFL
Three-time Super Bowl champion (1982, 1987, 1991)
Two-time NFL Coach of the Year (1982, 1983)
NFL 100 All-Time Team
NASCAR
Five-time NASCAR Cup Series champion (as owner of Joe Gibbs Racing)
Two-time NASCAR Xfinity Series champion (as owner of Joe Gibbs Racing)
Halls of Fame
Pro Football Hall of Fame (class of 1996)
Washington Ring of Fame
NASCAR Hall of Fame inductee (class of 2020)
State/local
Coach Gibbs Drive - a street leading to Washington's practice facility in Ashburn, Virginia
Writing career
In 1992, Gibbs co-authored Joe Gibbs: Fourth and One, and in 2003, he co-authored Racing to Win. The books resemble a business and life how-to book and motivational guide as he discusses his successes and mistakes in his career, offering the lessons he learned as tips to the readers. In 2009, Gibbs wrote the book Game Plan for Life which discusses his life in football; how his religious faith can help others and outside of sports, as well as key topics that are important to people trying to lead a contemporary Christian lifestyle.
See also
List of National Football League head coaches with 50 wins
References
External links
Joe Gibbs Racing
1940 births
Living people
American football tight ends
American motivational writers
Arkansas Razorbacks football coaches
Atlanta Falcons owners
Cerritos Falcons football players
College football announcers
Florida State Seminoles football coaches
Motorcycle racing team owners
NASCAR team owners
National Football League announcers
San Diego Chargers coaches
San Diego State Aztecs football coaches
San Diego State Aztecs football players
St. Louis Cardinals (football) coaches
Tampa Bay Buccaneers coaches
USC Trojans football coaches
Washington Redskins head coaches
Pro Football Hall of Fame inductees
People from Buncombe County, North Carolina
Sportspeople from Los Angeles County, California
People from Loudoun County, Virginia
Players of American football from California
20th-century American non-fiction writers
21st-century American non-fiction writers
20th-century American male writers
Super Bowl-winning head coaches
People from Mocksville, North Carolina
American male non-fiction writers
21st-century American male writers
| false |
[
"Joe Jackson Gibbs (born November 25, 1940) is an American auto racing team owner and former professional football coach. In football, he was head coach for the Washington Redskins of the National Football League (NFL) from 1981 to 1992, and again from 2004 to 2007. During his first stint with the Redskins, he led them to eight playoff appearances, four NFC Championship titles, and three Super Bowl titles over 12 seasons. Gibbs is the only head coach to have won Super Bowls with three different starting quarterbacks. Gibbs is widely regarded as one of the greatest coaches in NFL history.\n\nAfter retiring at the end of the 1992 season, he switched focus to NASCAR, forming the team Joe Gibbs Racing, which has since won five NASCAR Cup Series championships. In 2004, Gibbs came out of retirement to rejoin the Redskins as head coach, staying with them until 2007 when he again retired following the season's end. Gibbs was inducted into the Pro Football Hall of Fame in 1996, as well as being named to the NFL 100 All-Time Team. Gibbs was also inducted into the NASCAR Hall of Fame in 2020. Gibbs is the only person to have won a Super Bowl and a NASCAR Cup Series Championship, and be inducted into both the Pro Football and NASCAR Halls of Fame.\n\nEarly career\nBorn in Mocksville, North Carolina, Gibbs is the oldest of two sons of Jackson Ceufud (1916–1989) and Winnie Era (Blalock) Gibbs (1915–2000). Gibbs graduated from Santa Fe High School in 1959, where he was the star quarterback. Gibbs attended Cerritos Junior College and then San Diego State University (SDSU), coached by Don Coryell. Gibbs graduated from SDSU in 1964 and earned a master's degree in 1966.\n\nGibbs began his career with a stint as offensive line coach at San Diego State under Coryell (1964–1966). He held the same position under Bill Peterson at Florida State (1967–1968) before serving under John McKay at Southern California (1969–1970) and Frank Broyles at Arkansas (1971–1972). Gibbs then advanced to the National Football League, hired as the offensive backfield coach for the St. Louis Cardinals (1973–1977) by head coach Don Coryell. After a season as offensive coordinator for the Tampa Bay Buccaneers (1978) under McKay, Gibbs rejoined Coryell with the San Diego Chargers (1979–1980).\n\nAs the offensive coordinator for San Diego, Gibbs spearheaded the highly successful \"Air Coryell\" offense. Using a sophisticated passing attack, the Chargers and quarterback Dan Fouts set multiple offensive records during Gibbs' two seasons there. Remarkably, the Chargers averaged more than 400 yards of offense per game during their 1980 season. After 17 years of coaching as an assistant, the Washington Redskins offered Gibbs their head coaching position.\n\nWashington Redskins (1981–1992)\nAfter firing then-head coach Jack Pardee, Redskins owner Jack Kent Cooke was on the lookout for candidates. When general manager Bobby Beathard pointed out the 40-year-old San Diego assistant coach, Cooke, who had a keen eye for spotting leadership and an ability to teach (he also hired Jerry West and Sparky Anderson to their first managerial/executive jobs), saw Gibbs' potential during an interview and hired him.\n\nGibbs' first season with the Redskins started inauspiciously when the team lost their first five games. Cooke famously expressed confidence in Gibbs, declaring that the team would finish 8-8. The losses and Cooke's confidence served as a catalyst, and the newly motivated team improved and reached an even 8–8 record in 1981.\n\nGibbs' second season with the Redskins, which was shortened by a players strike, saw them defeat the Miami Dolphins 27–17 in Super Bowl XVII. In 1983, Gibbs' success continued with a 14–2 regular-season record and a win against the Los Angeles Rams 51–7 at home, in the divisional round of the playoffs. The Redskins once again won an NFC Championship, defeating the San Francisco 49ers 24–21 on a last-second field goal, advancing to Super Bowl XVIII. The Redskins were installed as a 2-point favorite by Nevada books going into the game, but were soundly defeated by the Los Angeles Raiders 38–9.\n\nThe 1984 Redskins won the NFC East with an 11–5 record and hosted a home playoff game against the Chicago Bears but lost 23–19.\n\nGibbs coached the 1985 Redskins to a 10–6 regular-season record and barely missed the playoffs. During the season Joe Theismann broke his leg during a Monday Night Football game against the New York Giants, but the Redskins still won the game with Jay Schroeder at quarterback.\n\nIn 1986, Gibbs coached the team to a 12–4 regular-season record and defeated the Los Angeles Rams 19–7 in the wild card playoffs, then upset the defending champion Chicago Bears 27–13 in the divisional round, on the road, to get back to the NFC Championship game against the New York Giants. The Giants would win 17–0. It was to be Gibbs' only NFC championship game loss.\n\nThe 1987 Redskins made the playoffs and again defeated the Chicago Bears 21–17 on the road in the divisional round, then beat the Minnesota Vikings 17–10 at home in the NFC Championship Game, then at Super Bowl XXII, they rode the arm of quarterback Doug Williams to blow out the Denver Broncos 42–10.\n\nFour years later, the Redskins won their first 11 games before finishing the season 14–2, and cruised through the playoffs with home victories over the Atlanta Falcons (24–7) and Detroit Lions (41–10). In Super Bowl XXVI, the Redskins were up 24–0 on the Buffalo Bills just 16 seconds into the third quarter, and 37–10 with over 11 minutes to go when Gibbs pulled most of his starters. The Bills would score two cosmetic touchdowns for a final score of 37–24. The victory gave Gibbs and the team their third Super Bowl title.\n\nGibbs returned for the 1992 regular season to defend the Redskins' Super Bowl crown from the previous year. The Redskins finished with a lesser record at 9–7 and 3rd place in the NFC East. They needed a bit of help to make the playoffs and they got it after a loss by the Green Bay Packers got them in as the last Wild Card entry. In the Wild Card round, the Redskins defeated the Minnesota Vikings on the road, by the score of 24–7, however they would fall in the Divisional Round to the San Francisco 49ers in a road game by the score of 20–13, ending the Redskins' hopes of retaining their Super Bowl crown. Two months after Super Bowl XXVII, Gibbs retired on March 5, 1993, surprising many in the organization and around the league. Center Jeff Bostic called it \"probably the biggest shock I've gotten in my life.\" A notorious workaholic, he had begun to suffer health problems, and he cited a desire to spend more time with his family.\n\nFrom 1994 to 1997, Gibbs served as a color analyst on NBC Sports' NFL pregame show.\n\nIn 1996, Gibbs was enshrined in the Pro Football Hall of Fame. He was one of the winningest coaches in the NFL, with a record of 124–60, and a post-season record of 16–5. His combined winning percentage of .683 was third all-time (behind Vince Lombardi and John Madden). In his 12 seasons so far, the Redskins won 4 NFC East titles, reached the playoffs 8 times, and finished with a losing record only one season (7–9 in 1988). Gibbs is the only NFL coach to win three Super Bowls with three different starting quarterbacks and three different starting running backs.\n\nStyle of play\nAlthough Gibbs helped craft a passing-oriented attack during his time in San Diego, his Redskins teams incorporated a smash-mouth, rushing-oriented attack called the counter trey. By building a strong offensive line (known as \"The Hogs\") Gibbs was able to control the line of scrimmage, allowing workhorse running backs John Riggins, George Rogers, and Earnest Byner to power the ground game. Gibbs added a deep passing attack which complemented the ground game, utilizing agile receivers such as Art Monk, Gary Clark, and Ricky Sanders. Gibbs' offense was aided by aggressive defensive units under the direction of defensive coordinator Richie Petitbon.\n\nGibbs' system was robust enough to be successful without a Hall-of-Fame-caliber quarterback at the helm. The Redskins' Super Bowl victories were won featuring Joe Theismann, Doug Williams, and Mark Rypien—capable players who were very successful along with their strong supporting cast.\n\nGibbs is credited with inventing the single back, double or triple tight end set. He used it to neutralize Hall of Fame linebacker Lawrence Taylor, realizing that to successfully block him with a running back was impossible. An extra tight end and a tackle were required as well. The extra tight end provided additional protection for the quarterback. Gibbs was also credited for creating the Trips formation: stacking three wide receivers to one side. Gibbs incorporated shifts and motions for which his offenses were known. The formations created mismatches and confused the opposing defenses which were subsequently exploited. He is one of few coaches that utilized the H-back position prominently in his offense.\n\nJoe Gibbs Racing (1992–present)\n\nGibbs created his NASCAR team, Joe Gibbs Racing in 1992, a year before he first retired from the NFL. The first driver for his team was Dale Jarrett (1992–1994), with the sponsor Interstate Batteries, and the number 18. His son, J. D. Gibbs, was the president of Joe Gibbs Racing and oversaw daily operations of each of the teams since his father's return to the NFL.\n\nThe team currently fields four cars in the NASCAR Cup Series and two in the NASCAR Xfinity Series.\n\nNASCAR\n\nCup Series teams\n No. 11 Denny Hamlin\n No. 18 Kyle Busch\n No. 19 Martin Truex Jr.\n No. 20 Christopher Bell\n\nXfinity Series teams\n No. 19 Brandon Jones\n No. 54 Ty Gibbs\n\nNASCAR championships\n 2000 – Bobby Labonte, No. 18 Interstate Batteries Pontiac, Winston Cup Series\n 2002 – Tony Stewart, No. 20 Home Depot Pontiac, Winston Cup Series\n 2005 – Tony Stewart, No. 20 Home Depot Chevrolet, Nextel Cup Series\n 2007 – Joey Logano, No. 20 Joe Gibbs Driven Racing Oil Chevrolet, Busch East Series\n 2009 – Kyle Busch, No. 18 Z-Line Toyota, Nationwide Series\n 2015 – Kyle Busch, No. 18 M&M's Toyota, Sprint Cup Series\n 2016 – Daniel Suárez, No. 19 Arris Toyota, Xfinity Series\n 2019 – Kyle Busch, No. 18 M&M's Toyota, Monster Energy Cup Series\n 2021 - Daniel Hemric, No. 18 Poppy Bank Toyota, Xfinity Series\n\nNHRA\nBeginning in 1995, Gibbs fielded three cars in the NHRA, one, in each professional category:\n the Funny Car, driven by Cruz Pedregon\n the Top Fuel dragster, driven by Cory McClenathan\n the Pro Stock Firebird, driven by Jim Yates\nYates would bring home 2 NHRA Winston Pro Stock Championships in 1996 and 1997. McDonald's was the primary sponsor on all three cars from 1995 to 1997. In 1998 Cruz Pedregon would be sponsored by Interstate Batteries and Jim Yates by SplitFire.\n\nPedregon won Gibbs' first NHRA National Event as a team owner at the 1995 NHRA Chief Auto Parts Winternationals. He would couple that with a victory at the '95 NHRA U.S. Nationals, 3rd for Pedregon in 4 years at the U.S. Nationals. Pedregon continued to race for Gibbs until mid-season (Englishtown, New Jersey) in 1999. Ending with a final-round appearance, Pedregon left to race on his own, and was replaced by Tommy Johnson Jr. would win his first Fuel Funny Car win with Gibbs at the '99 NHRA Keystone Nationals and would go to the next two final rounds, scoring another victory in the process. It was announced that after the '99 season, Gibbs team would be reduced to a two-car team, and the Funny Car team was parked from then on.\n\nMcClenathan finished 2nd in NHRA Winston Top Fuel points in both 1997 and 1998 with Gibbs. In 1997, McClenathan went on a hot streak, sweeping the famed Western Swing (Denver, Sonoma, Seattle) and a total four wins in a row, 5 in 6 races since Denver, including a final round at the U.S. Nationals in '97. He also took Gibbs' MBNA Top Fuel Dragster to a $200,000 payday, winning the 2000 NHRA Winston No-Bull Showdown, pitting Top Fuel Dragsters against Funny Cars in a 24 car shootout.\n\nGibbs announced that he would focus solely on his NASCAR teams following the 2000 season, ending the six-year-long relationship with NHRA.\n\nMotocross\nIn 2008, Gibbs branched out into motorcycle racing, forming the JGRMX team competing in the AMA motocross and supercross championships. The team is based in Huntersville, North Carolina and is managed by Gibbs' son, Coy Gibbs.\n\nSecond stint with Redskins (2004–2007)\n\nThroughout his retirement, many NFL owners approached Gibbs hoping to lure him out of retirement, but to no avail. Some owners even offered to move his entire NASCAR racing team to their team's city if he came back. The only team he seriously considered coming back for was the Carolina Panthers when they first joined the NFL as an expansion in 1995. However, he did not believe he would be able to manage his time between his race team and coaching. In 1999, he was part of a group that was trying to buy the Redskins but ultimately failed. In 2002, Gibbs and a small group of investors bought five percent of the Atlanta Falcons from owner Arthur Blank for $27 million. It wasn't until late 2003 when Gibbs really started to catch the football fever again. Blank and his general manager, Rich McKay moved quickly to interview him for the Falcons' vacant head coaching position due to the firing of Dan Reeves.\n\nIn January 2004, Gibbs accepted an offer from Redskins owner Daniel Snyder to return as the team's head coach. At his press conference, Gibbs stated that even though he enjoyed NASCAR, he had also missed coaching in the NFL. Gibbs left his racing team in the hands of his eldest son, J.D., while his other son, Coy, joined him as an assistant with the Redskins. Many coaches from his previous tenure with the team returned with Gibbs as well, including offensive line coach/assistant head coach Joe Bugel, offensive coordinator Don Breaux, quarterbacks coach Jack Burns, and tight ends coach Rennie Simmons. Gibbs also hired former Buffalo Bills head coach Gregg Williams to join the team to run the defense and hired one of his former running backs, Earnest Byner, to serve as running backs coach.\n\nIn 2004, Gibbs had what was, up to that point, the worst season of his career with a 6-10 finish. However, the team did finish the season on a high note with a 21–18 victory over playoff-bound Minnesota. The defense also finished the season ranked third in yards allowed. Hoping to improve on the previous season's dismal passing attack, Gibbs added former Jacksonville Jaguars offensive coordinator Bill Musgrave as his quarterbacks coach. Having coached new Redskins quarterback Mark Brunell when they both were in Jacksonville, they easily formed a rapport. Musgrave's input allowed the Redskins to add a few new wrinkles to their playbook. For the first time under Gibbs, the Redskins offense utilized the shotgun formation. In the Wild Card playoff game, Gibbs led his team to a 17–10 victory over the Tampa Bay Buccaneers, to whom the Redskins suffered a 36–35 defeat earlier in the year. In the next round of the playoffs, however, the Redskins could not replicate their early-season victory over the Super Bowl-bound Seattle Seahawks, and lost to the eventual NFC Champion by the score of 20–10.\n\nDuring the 2006 offseason, Gibbs hired Kansas City Chiefs' offensive coordinator Al Saunders to be associate head coach. Saunders came from a similar background as Gibbs, as both learned under Don Coryell. He took over for Gibbs as the team's primary play-caller upon joining the Redskins. This allowed Gibbs to focus more on his role as head coach and CEO and devote more time to personnel matters, defense, and special teams. Gibbs also added former Buffalo Bills defensive coordinator Jerry Gray to his staff as secondary/cornerbacks coach.\n\nThe Redskins finished 5–11 in 2006, the team's worst regular-season record under him. The following season the team suffered a tragedy when free safety Sean Taylor was shot in his home during a home robbery in November 2007 and died in the hospital a day later. However, the Redskins still qualified for the playoffs following the completion of a 9–7 regular season before being defeated by the NFC West division champions Seattle Seahawks in the first round. Gibbs retired as head coach and president in January 2008, citing family obligations. During Gibbs' four-year return to the Redskins, the team qualified for the playoffs twice, once more than it qualified for the playoffs during his 11-year absence. He was succeeded as head coach by Jim Zorn.\n\nHead coaching record\n\nPersonal life\nGibbs currently resides in Charlotte, North Carolina, with his wife, the former Patricia Escobar. They had two sons, J. D. Gibbs and Coy Gibbs, and eight grandchildren. J. D. and his wife, Melissa, had four sons: Jackson, Miller, Jason, and Taylor. Coy Gibbs and wife Heather have three sons Ty, Case, Jet, and daughter Elle. In January 2007, Gibbs revealed that Taylor was diagnosed with leukemia, adding that his grandson had undergone surgery and received chemotherapy treatments. Gibbs is a devout Christian. His son J.D. died on January 11, 2019 after a long battle with neurological brain disease diagnosed in 2015.\n\nPolitics\nOn September 5, 2008, Gibbs addressed the 2008 Republican National Convention, during which he offered his support for John McCain and his hope that the McCain-Palin ticket would lead to a 'spiritual awakening' in the United States. Gibbs has long been open about his Christian faith, but notoriously reserved about articulating his political positions, because, as the old Washington joke goes, \"The Redskins are the only thing that unites the town.\" As one of the most sought after A-List figures in Washington social circles for over a quarter-century (and even being referred to as \"the most popular man in Washington\" by the Washington Post), Gibbs admitted being uneasy addressing the convention, stating that it was \"a little awkward to put on a partisan hat.\"\n\nAwards and honors\nNFL\n Three-time Super Bowl champion (1982, 1987, 1991)\n Two-time NFL Coach of the Year (1982, 1983)\n NFL 100 All-Time Team\n\nNASCAR\n Five-time NASCAR Cup Series champion (as owner of Joe Gibbs Racing)\n Two-time NASCAR Xfinity Series champion (as owner of Joe Gibbs Racing)\n\nHalls of Fame\n Pro Football Hall of Fame (class of 1996)\n Washington Ring of Fame\n NASCAR Hall of Fame inductee (class of 2020)\n\nState/local\n Coach Gibbs Drive - a street leading to Washington's practice facility in Ashburn, Virginia\n\nWriting career\nIn 1992, Gibbs co-authored Joe Gibbs: Fourth and One, and in 2003, he co-authored Racing to Win. The books resemble a business and life how-to book and motivational guide as he discusses his successes and mistakes in his career, offering the lessons he learned as tips to the readers. In 2009, Gibbs wrote the book Game Plan for Life which discusses his life in football; how his religious faith can help others and outside of sports, as well as key topics that are important to people trying to lead a contemporary Christian lifestyle.\n\nSee also\n List of National Football League head coaches with 50 wins\n\nReferences\n\nExternal links\n\n Joe Gibbs Racing\n \n \n\n1940 births\nLiving people\nAmerican football tight ends\nAmerican motivational writers\nArkansas Razorbacks football coaches\nAtlanta Falcons owners\nCerritos Falcons football players\nCollege football announcers\nFlorida State Seminoles football coaches\nMotorcycle racing team owners\nNASCAR team owners\nNational Football League announcers\nSan Diego Chargers coaches\nSan Diego State Aztecs football coaches\nSan Diego State Aztecs football players\nSt. Louis Cardinals (football) coaches\nTampa Bay Buccaneers coaches\nUSC Trojans football coaches\nWashington Redskins head coaches\nPro Football Hall of Fame inductees\nPeople from Buncombe County, North Carolina\nSportspeople from Los Angeles County, California\nPeople from Loudoun County, Virginia\nPlayers of American football from California\n20th-century American non-fiction writers\n21st-century American non-fiction writers\n20th-century American male writers\nSuper Bowl-winning head coaches\nPeople from Mocksville, North Carolina\nAmerican male non-fiction writers\n21st-century American male writers",
"Jeffrey Gibbs (born August 4, 1980) is an American professional basketball player. Gibbs played college basketball for Otterbein University and is a professional player since 2004.\n\nCollege career \nGibbs played basketball and football at Otterbein University and won All-America honors in both sports. He left Otterbein as the leading rebounder (1496) and fifth all-time leading scorer (1924). As a senior, Gibbs averaged 23.5 points, 16.3 rebounds, 3.4 assists, 2.4 blocks and 2.3 steals a contest en route to capturing the 2002 NCAA Division III championship, while earning NABC NCAA Division III Player of the Year honors and making the D3hoops.com All-America First Team. He was later named to the D3hoops.com All-Decade Second Team. Gibbs was inducted into the Otterbein University Hall of Fame in 2008.\n\nProfessional career\nAfter a short stint in the CBA and after playing in Pro-Am Leagues, Summer Leagues and on a touring team, Gibbs signed his first overseas contract in January 2004, when he joined German second-division side TSG Ehingen. In his second year in Germany, Gibbs took home Eurobasket.com All-2. Bundesliga Second Team distinction and headed to ratiopharm Ulm for the 2005–06 campaign. Averaging a double-double (16.3 ppg, 12.0rpg) on the season, he helped the Ulm team win the championship in the 2. Bundesliga South division and promotion to the country's top-flight Basketball Bundesliga. For his efforts, Gibbs received 2006 Eurobasket.com All-German 2. Bundesliga Forward of the Year honors.\n\nGibbs led Germany's top division in rebounding four straight seasons (2006–2010), garnering Eurobasket.com All-German Bundesliga First Team honors in 2007 and 2009 and attending the German All Star Game twice. Due to his rebounding prowess at only , he was given the nickname \"Mr. Incredible\" in Germany. He had spent the 2009–10 season with Eisbären Bremerhaven and signed with Toyota Alvark of Japan prior to the 2010–11 campaign. In his six-year stint with the club, Gibbs helped Alvark win the 2012 JBL Superleague Championship and the 2012 Emperor's Cup. He was recognized with Asia-Basket.com All-Japanese JBL Superleague First Team honors in 2013 and participated in the JBL All Star Game the same year. In 2016, he received Asia-Basket.com All-Japanese NBL Defensive Player of the Year and All-NBL First Team honors.\n\nGibbs inked a deal with Link Tochigi Brex of Japan's B.League in 2016.\n\nCareer statistics \n\n|-\n| align=\"left\" | 2013–14\n| align=\"left\" | Toyota\n| 52 ||47 || 25.6 || .575 || .433 || .766 || 10.4 || 1.9 || 1.9|| 1.2 || 17.7 \n|-\n| align=\"left\" | 2014–15\n| align=\"left\" | Toyota\n| 50 || 17 || 22.9 || .571 || .284 || .815 || 8.9 || 2.2 ||bgcolor=\"CFECEC\"| 2.2* || 0.6 || 16.3 \n|-\n| align=\"left\" | 2015–16\n| align=\"left\" | Toyota\n| 54 || 48 || 26.3 || .523 || .393 || .799 || 9.2 || 2.9 ||bgcolor=\"CFECEC\"| 2.0* || 0.7 || 14.9\n|-\n|align=\"left\" style=\"background-color:#afe6ba; border: 1px solid gray\" | 2016–17†\n| align=\"left\" | Tochigi\n| 55 || 2 ||20.5 || .513 || .180 ||.820 || 8.0 ||1.9 ||1.6 || 0.5 || 12.3 \n|-\n| align=\"left\" | 2017–18\n| align=\"left\" | Tochigi\n| 35 || 29 ||21.9 || .492 || .294 ||.822 || 7.0 ||1.7 ||1.3 || 0.8 || 11.7 \n|-\n|}\n\nReferences\n\n1980 births\nLiving people\nAlvark Tokyo players\nAmerican expatriate basketball people in Germany\nAmerican expatriate basketball people in Japan\nAmerican men's basketball players\nBasketball players from Columbus, Ohio\nEisbären Bremerhaven players\nUtsunomiya Brex players\nOtterbein Cardinals football players\nOtterbein Cardinals men's basketball players\nRatiopharm Ulm players\nPower forwards (basketball)"
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"Joe Gibbs",
"Second stint with Redskins (2004-2008)",
"Did Gibbs make the playoffs in his second stint with the team?",
"I don't know."
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What was the teams record in his second stint with the 'Skins?
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What was the Redskins' record in Gibbs' second stint with the 'Skins?
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Joe Gibbs
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Throughout his retirement, many NFL owners approached Gibbs hoping to lure him out of retirement, but to no avail. Some owners even offered to move his entire NASCAR racing team to their team's city if he came back. The only team he seriously considered coming back for was the Carolina Panthers when they first joined the NFL as an expansion in 1995. However, he did not believe he would be able to manage his time between his race team and coaching. In 1999, he was part of a group that was trying to buy the Redskins but ultimately failed. In 2002, Gibbs and a small group of investors bought five percent of the Atlanta Falcons from owner Arthur Blank for $27 million. It wasn't until late 2003 when Gibbs really started to catch the football fever again. Blank and his general manager, Rich McKay moved quickly to interview him for the Falcons' vacant head coaching position due to the firing of Dan Reeves. However, when Gibbs found out that Steve Spurrier resigned as the Redskins' head coach, they realized that even though Gibbs was one of the team's minority owners, his loyalty still lies with the Redskins. It is well documented that Daniel Snyder had been turned down by Gibbs several times before. On December 31, 2003, Snyder's private plane (Redskin One) was spotted at an airport outside of Charlotte, North Carolina. After spending 11 years in retirement from the NFL, Snyder successfully lured Gibbs out of retirement. Gibbs' change of heart was quite a surprise to the football and NASCAR worlds. During his January 7 press conference, a visibly emotional Snyder welcomed him back. Gibbs then stated that even though he enjoyed NASCAR immensely, he had missed coaching in the NFL. And although he had fielded offers in the past, he could only see himself coaching for the Redskins. Because of his credibility, Gibbs was able to assemble one of the largest and most experienced coaching staffs in the NFL. Many coaches from his previous tenure with the team returned with Gibbs as well, including offensive line coach/assistant head coach Joe Bugel, offensive coordinator Don Breaux, quarterbacks coach Jack Burns, and tight ends coach Rennie Simmons. Gibbs was able to lure former Buffalo Bills head coach Gregg Williams to join the Redskins to run the defense and hired one of his former running backs, Ernest Byner to serve as running backs coach. Overall, many of his assistant and position coaches were either former head coaches and/or held top assistant coaching positions with other NFL teams. Gibbs left his racing team in the hands of his eldest son, J.D., while his other son, Coy, joined him as an assistant with the Redskins. CANNOTANSWER
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Joe Jackson Gibbs (born November 25, 1940) is an American auto racing team owner and former professional football coach. In football, he was head coach for the Washington Redskins of the National Football League (NFL) from 1981 to 1992, and again from 2004 to 2007. During his first stint with the Redskins, he led them to eight playoff appearances, four NFC Championship titles, and three Super Bowl titles over 12 seasons. Gibbs is the only head coach to have won Super Bowls with three different starting quarterbacks. Gibbs is widely regarded as one of the greatest coaches in NFL history.
After retiring at the end of the 1992 season, he switched focus to NASCAR, forming the team Joe Gibbs Racing, which has since won five NASCAR Cup Series championships. In 2004, Gibbs came out of retirement to rejoin the Redskins as head coach, staying with them until 2007 when he again retired following the season's end. Gibbs was inducted into the Pro Football Hall of Fame in 1996, as well as being named to the NFL 100 All-Time Team. Gibbs was also inducted into the NASCAR Hall of Fame in 2020. Gibbs is the only person to have won a Super Bowl and a NASCAR Cup Series Championship, and be inducted into both the Pro Football and NASCAR Halls of Fame.
Early career
Born in Mocksville, North Carolina, Gibbs is the oldest of two sons of Jackson Ceufud (1916–1989) and Winnie Era (Blalock) Gibbs (1915–2000). Gibbs graduated from Santa Fe High School in 1959, where he was the star quarterback. Gibbs attended Cerritos Junior College and then San Diego State University (SDSU), coached by Don Coryell. Gibbs graduated from SDSU in 1964 and earned a master's degree in 1966.
Gibbs began his career with a stint as offensive line coach at San Diego State under Coryell (1964–1966). He held the same position under Bill Peterson at Florida State (1967–1968) before serving under John McKay at Southern California (1969–1970) and Frank Broyles at Arkansas (1971–1972). Gibbs then advanced to the National Football League, hired as the offensive backfield coach for the St. Louis Cardinals (1973–1977) by head coach Don Coryell. After a season as offensive coordinator for the Tampa Bay Buccaneers (1978) under McKay, Gibbs rejoined Coryell with the San Diego Chargers (1979–1980).
As the offensive coordinator for San Diego, Gibbs spearheaded the highly successful "Air Coryell" offense. Using a sophisticated passing attack, the Chargers and quarterback Dan Fouts set multiple offensive records during Gibbs' two seasons there. Remarkably, the Chargers averaged more than 400 yards of offense per game during their 1980 season. After 17 years of coaching as an assistant, the Washington Redskins offered Gibbs their head coaching position.
Washington Redskins (1981–1992)
After firing then-head coach Jack Pardee, Redskins owner Jack Kent Cooke was on the lookout for candidates. When general manager Bobby Beathard pointed out the 40-year-old San Diego assistant coach, Cooke, who had a keen eye for spotting leadership and an ability to teach (he also hired Jerry West and Sparky Anderson to their first managerial/executive jobs), saw Gibbs' potential during an interview and hired him.
Gibbs' first season with the Redskins started inauspiciously when the team lost their first five games. Cooke famously expressed confidence in Gibbs, declaring that the team would finish 8-8. The losses and Cooke's confidence served as a catalyst, and the newly motivated team improved and reached an even 8–8 record in 1981.
Gibbs' second season with the Redskins, which was shortened by a players strike, saw them defeat the Miami Dolphins 27–17 in Super Bowl XVII. In 1983, Gibbs' success continued with a 14–2 regular-season record and a win against the Los Angeles Rams 51–7 at home, in the divisional round of the playoffs. The Redskins once again won an NFC Championship, defeating the San Francisco 49ers 24–21 on a last-second field goal, advancing to Super Bowl XVIII. The Redskins were installed as a 2-point favorite by Nevada books going into the game, but were soundly defeated by the Los Angeles Raiders 38–9.
The 1984 Redskins won the NFC East with an 11–5 record and hosted a home playoff game against the Chicago Bears but lost 23–19.
Gibbs coached the 1985 Redskins to a 10–6 regular-season record and barely missed the playoffs. During the season Joe Theismann broke his leg during a Monday Night Football game against the New York Giants, but the Redskins still won the game with Jay Schroeder at quarterback.
In 1986, Gibbs coached the team to a 12–4 regular-season record and defeated the Los Angeles Rams 19–7 in the wild card playoffs, then upset the defending champion Chicago Bears 27–13 in the divisional round, on the road, to get back to the NFC Championship game against the New York Giants. The Giants would win 17–0. It was to be Gibbs' only NFC championship game loss.
The 1987 Redskins made the playoffs and again defeated the Chicago Bears 21–17 on the road in the divisional round, then beat the Minnesota Vikings 17–10 at home in the NFC Championship Game, then at Super Bowl XXII, they rode the arm of quarterback Doug Williams to blow out the Denver Broncos 42–10.
Four years later, the Redskins won their first 11 games before finishing the season 14–2, and cruised through the playoffs with home victories over the Atlanta Falcons (24–7) and Detroit Lions (41–10). In Super Bowl XXVI, the Redskins were up 24–0 on the Buffalo Bills just 16 seconds into the third quarter, and 37–10 with over 11 minutes to go when Gibbs pulled most of his starters. The Bills would score two cosmetic touchdowns for a final score of 37–24. The victory gave Gibbs and the team their third Super Bowl title.
Gibbs returned for the 1992 regular season to defend the Redskins' Super Bowl crown from the previous year. The Redskins finished with a lesser record at 9–7 and 3rd place in the NFC East. They needed a bit of help to make the playoffs and they got it after a loss by the Green Bay Packers got them in as the last Wild Card entry. In the Wild Card round, the Redskins defeated the Minnesota Vikings on the road, by the score of 24–7, however they would fall in the Divisional Round to the San Francisco 49ers in a road game by the score of 20–13, ending the Redskins' hopes of retaining their Super Bowl crown. Two months after Super Bowl XXVII, Gibbs retired on March 5, 1993, surprising many in the organization and around the league. Center Jeff Bostic called it "probably the biggest shock I've gotten in my life." A notorious workaholic, he had begun to suffer health problems, and he cited a desire to spend more time with his family.
From 1994 to 1997, Gibbs served as a color analyst on NBC Sports' NFL pregame show.
In 1996, Gibbs was enshrined in the Pro Football Hall of Fame. He was one of the winningest coaches in the NFL, with a record of 124–60, and a post-season record of 16–5. His combined winning percentage of .683 was third all-time (behind Vince Lombardi and John Madden). In his 12 seasons so far, the Redskins won 4 NFC East titles, reached the playoffs 8 times, and finished with a losing record only one season (7–9 in 1988). Gibbs is the only NFL coach to win three Super Bowls with three different starting quarterbacks and three different starting running backs.
Style of play
Although Gibbs helped craft a passing-oriented attack during his time in San Diego, his Redskins teams incorporated a smash-mouth, rushing-oriented attack called the counter trey. By building a strong offensive line (known as "The Hogs") Gibbs was able to control the line of scrimmage, allowing workhorse running backs John Riggins, George Rogers, and Earnest Byner to power the ground game. Gibbs added a deep passing attack which complemented the ground game, utilizing agile receivers such as Art Monk, Gary Clark, and Ricky Sanders. Gibbs' offense was aided by aggressive defensive units under the direction of defensive coordinator Richie Petitbon.
Gibbs' system was robust enough to be successful without a Hall-of-Fame-caliber quarterback at the helm. The Redskins' Super Bowl victories were won featuring Joe Theismann, Doug Williams, and Mark Rypien—capable players who were very successful along with their strong supporting cast.
Gibbs is credited with inventing the single back, double or triple tight end set. He used it to neutralize Hall of Fame linebacker Lawrence Taylor, realizing that to successfully block him with a running back was impossible. An extra tight end and a tackle were required as well. The extra tight end provided additional protection for the quarterback. Gibbs was also credited for creating the Trips formation: stacking three wide receivers to one side. Gibbs incorporated shifts and motions for which his offenses were known. The formations created mismatches and confused the opposing defenses which were subsequently exploited. He is one of few coaches that utilized the H-back position prominently in his offense.
Joe Gibbs Racing (1992–present)
Gibbs created his NASCAR team, Joe Gibbs Racing in 1992, a year before he first retired from the NFL. The first driver for his team was Dale Jarrett (1992–1994), with the sponsor Interstate Batteries, and the number 18. His son, J. D. Gibbs, was the president of Joe Gibbs Racing and oversaw daily operations of each of the teams since his father's return to the NFL.
The team currently fields four cars in the NASCAR Cup Series and two in the NASCAR Xfinity Series.
NASCAR
Cup Series teams
No. 11 Denny Hamlin
No. 18 Kyle Busch
No. 19 Martin Truex Jr.
No. 20 Christopher Bell
Xfinity Series teams
No. 19 Brandon Jones
No. 54 Ty Gibbs
NASCAR championships
2000 – Bobby Labonte, No. 18 Interstate Batteries Pontiac, Winston Cup Series
2002 – Tony Stewart, No. 20 Home Depot Pontiac, Winston Cup Series
2005 – Tony Stewart, No. 20 Home Depot Chevrolet, Nextel Cup Series
2007 – Joey Logano, No. 20 Joe Gibbs Driven Racing Oil Chevrolet, Busch East Series
2009 – Kyle Busch, No. 18 Z-Line Toyota, Nationwide Series
2015 – Kyle Busch, No. 18 M&M's Toyota, Sprint Cup Series
2016 – Daniel Suárez, No. 19 Arris Toyota, Xfinity Series
2019 – Kyle Busch, No. 18 M&M's Toyota, Monster Energy Cup Series
2021 - Daniel Hemric, No. 18 Poppy Bank Toyota, Xfinity Series
NHRA
Beginning in 1995, Gibbs fielded three cars in the NHRA, one, in each professional category:
the Funny Car, driven by Cruz Pedregon
the Top Fuel dragster, driven by Cory McClenathan
the Pro Stock Firebird, driven by Jim Yates
Yates would bring home 2 NHRA Winston Pro Stock Championships in 1996 and 1997. McDonald's was the primary sponsor on all three cars from 1995 to 1997. In 1998 Cruz Pedregon would be sponsored by Interstate Batteries and Jim Yates by SplitFire.
Pedregon won Gibbs' first NHRA National Event as a team owner at the 1995 NHRA Chief Auto Parts Winternationals. He would couple that with a victory at the '95 NHRA U.S. Nationals, 3rd for Pedregon in 4 years at the U.S. Nationals. Pedregon continued to race for Gibbs until mid-season (Englishtown, New Jersey) in 1999. Ending with a final-round appearance, Pedregon left to race on his own, and was replaced by Tommy Johnson Jr. would win his first Fuel Funny Car win with Gibbs at the '99 NHRA Keystone Nationals and would go to the next two final rounds, scoring another victory in the process. It was announced that after the '99 season, Gibbs team would be reduced to a two-car team, and the Funny Car team was parked from then on.
McClenathan finished 2nd in NHRA Winston Top Fuel points in both 1997 and 1998 with Gibbs. In 1997, McClenathan went on a hot streak, sweeping the famed Western Swing (Denver, Sonoma, Seattle) and a total four wins in a row, 5 in 6 races since Denver, including a final round at the U.S. Nationals in '97. He also took Gibbs' MBNA Top Fuel Dragster to a $200,000 payday, winning the 2000 NHRA Winston No-Bull Showdown, pitting Top Fuel Dragsters against Funny Cars in a 24 car shootout.
Gibbs announced that he would focus solely on his NASCAR teams following the 2000 season, ending the six-year-long relationship with NHRA.
Motocross
In 2008, Gibbs branched out into motorcycle racing, forming the JGRMX team competing in the AMA motocross and supercross championships. The team is based in Huntersville, North Carolina and is managed by Gibbs' son, Coy Gibbs.
Second stint with Redskins (2004–2007)
Throughout his retirement, many NFL owners approached Gibbs hoping to lure him out of retirement, but to no avail. Some owners even offered to move his entire NASCAR racing team to their team's city if he came back. The only team he seriously considered coming back for was the Carolina Panthers when they first joined the NFL as an expansion in 1995. However, he did not believe he would be able to manage his time between his race team and coaching. In 1999, he was part of a group that was trying to buy the Redskins but ultimately failed. In 2002, Gibbs and a small group of investors bought five percent of the Atlanta Falcons from owner Arthur Blank for $27 million. It wasn't until late 2003 when Gibbs really started to catch the football fever again. Blank and his general manager, Rich McKay moved quickly to interview him for the Falcons' vacant head coaching position due to the firing of Dan Reeves.
In January 2004, Gibbs accepted an offer from Redskins owner Daniel Snyder to return as the team's head coach. At his press conference, Gibbs stated that even though he enjoyed NASCAR, he had also missed coaching in the NFL. Gibbs left his racing team in the hands of his eldest son, J.D., while his other son, Coy, joined him as an assistant with the Redskins. Many coaches from his previous tenure with the team returned with Gibbs as well, including offensive line coach/assistant head coach Joe Bugel, offensive coordinator Don Breaux, quarterbacks coach Jack Burns, and tight ends coach Rennie Simmons. Gibbs also hired former Buffalo Bills head coach Gregg Williams to join the team to run the defense and hired one of his former running backs, Earnest Byner, to serve as running backs coach.
In 2004, Gibbs had what was, up to that point, the worst season of his career with a 6-10 finish. However, the team did finish the season on a high note with a 21–18 victory over playoff-bound Minnesota. The defense also finished the season ranked third in yards allowed. Hoping to improve on the previous season's dismal passing attack, Gibbs added former Jacksonville Jaguars offensive coordinator Bill Musgrave as his quarterbacks coach. Having coached new Redskins quarterback Mark Brunell when they both were in Jacksonville, they easily formed a rapport. Musgrave's input allowed the Redskins to add a few new wrinkles to their playbook. For the first time under Gibbs, the Redskins offense utilized the shotgun formation. In the Wild Card playoff game, Gibbs led his team to a 17–10 victory over the Tampa Bay Buccaneers, to whom the Redskins suffered a 36–35 defeat earlier in the year. In the next round of the playoffs, however, the Redskins could not replicate their early-season victory over the Super Bowl-bound Seattle Seahawks, and lost to the eventual NFC Champion by the score of 20–10.
During the 2006 offseason, Gibbs hired Kansas City Chiefs' offensive coordinator Al Saunders to be associate head coach. Saunders came from a similar background as Gibbs, as both learned under Don Coryell. He took over for Gibbs as the team's primary play-caller upon joining the Redskins. This allowed Gibbs to focus more on his role as head coach and CEO and devote more time to personnel matters, defense, and special teams. Gibbs also added former Buffalo Bills defensive coordinator Jerry Gray to his staff as secondary/cornerbacks coach.
The Redskins finished 5–11 in 2006, the team's worst regular-season record under him. The following season the team suffered a tragedy when free safety Sean Taylor was shot in his home during a home robbery in November 2007 and died in the hospital a day later. However, the Redskins still qualified for the playoffs following the completion of a 9–7 regular season before being defeated by the NFC West division champions Seattle Seahawks in the first round. Gibbs retired as head coach and president in January 2008, citing family obligations. During Gibbs' four-year return to the Redskins, the team qualified for the playoffs twice, once more than it qualified for the playoffs during his 11-year absence. He was succeeded as head coach by Jim Zorn.
Head coaching record
Personal life
Gibbs currently resides in Charlotte, North Carolina, with his wife, the former Patricia Escobar. They had two sons, J. D. Gibbs and Coy Gibbs, and eight grandchildren. J. D. and his wife, Melissa, had four sons: Jackson, Miller, Jason, and Taylor. Coy Gibbs and wife Heather have three sons Ty, Case, Jet, and daughter Elle. In January 2007, Gibbs revealed that Taylor was diagnosed with leukemia, adding that his grandson had undergone surgery and received chemotherapy treatments. Gibbs is a devout Christian. His son J.D. died on January 11, 2019 after a long battle with neurological brain disease diagnosed in 2015.
Politics
On September 5, 2008, Gibbs addressed the 2008 Republican National Convention, during which he offered his support for John McCain and his hope that the McCain-Palin ticket would lead to a 'spiritual awakening' in the United States. Gibbs has long been open about his Christian faith, but notoriously reserved about articulating his political positions, because, as the old Washington joke goes, "The Redskins are the only thing that unites the town." As one of the most sought after A-List figures in Washington social circles for over a quarter-century (and even being referred to as "the most popular man in Washington" by the Washington Post), Gibbs admitted being uneasy addressing the convention, stating that it was "a little awkward to put on a partisan hat."
Awards and honors
NFL
Three-time Super Bowl champion (1982, 1987, 1991)
Two-time NFL Coach of the Year (1982, 1983)
NFL 100 All-Time Team
NASCAR
Five-time NASCAR Cup Series champion (as owner of Joe Gibbs Racing)
Two-time NASCAR Xfinity Series champion (as owner of Joe Gibbs Racing)
Halls of Fame
Pro Football Hall of Fame (class of 1996)
Washington Ring of Fame
NASCAR Hall of Fame inductee (class of 2020)
State/local
Coach Gibbs Drive - a street leading to Washington's practice facility in Ashburn, Virginia
Writing career
In 1992, Gibbs co-authored Joe Gibbs: Fourth and One, and in 2003, he co-authored Racing to Win. The books resemble a business and life how-to book and motivational guide as he discusses his successes and mistakes in his career, offering the lessons he learned as tips to the readers. In 2009, Gibbs wrote the book Game Plan for Life which discusses his life in football; how his religious faith can help others and outside of sports, as well as key topics that are important to people trying to lead a contemporary Christian lifestyle.
See also
List of National Football League head coaches with 50 wins
References
External links
Joe Gibbs Racing
1940 births
Living people
American football tight ends
American motivational writers
Arkansas Razorbacks football coaches
Atlanta Falcons owners
Cerritos Falcons football players
College football announcers
Florida State Seminoles football coaches
Motorcycle racing team owners
NASCAR team owners
National Football League announcers
San Diego Chargers coaches
San Diego State Aztecs football coaches
San Diego State Aztecs football players
St. Louis Cardinals (football) coaches
Tampa Bay Buccaneers coaches
USC Trojans football coaches
Washington Redskins head coaches
Pro Football Hall of Fame inductees
People from Buncombe County, North Carolina
Sportspeople from Los Angeles County, California
People from Loudoun County, Virginia
Players of American football from California
20th-century American non-fiction writers
21st-century American non-fiction writers
20th-century American male writers
Super Bowl-winning head coaches
People from Mocksville, North Carolina
American male non-fiction writers
21st-century American male writers
| false |
[
"The Sheboygan Red Skins (or Redskins) was a professional basketball team based in Sheboygan, Wisconsin, which was an original National Basketball Association franchise during the 1949–1950 season.\n\nHistory\n\nOverview\nThe Redskins played in three professional leagues and as an independent team. The leagues were, in order, the National Basketball League (NBL); the National Basketball Association (charter member), and the National Professional Basketball League (NPBL).\n\nThe team originated in 1933 from informal clubs which were sponsored by local businesses. They joined the NBL by 1938 as the Red Skins, owned by a syndicate. The Red Skins played in the NBL from 1938 to 1949, led the league in defense five times, appeared in five championship series and won the 1942–43 title, defeating the league-leading Fort Wayne Zollner Pistons (today's Detroit Pistons) in the finals.\n\nThey were undone by the 1949 merger of the NBL and the NBA. The other league which merged with the NBA (the Basketball Association of America) had more money, played in larger cities, and generally fielded better teams.\n\nThe Red Skins were one of seven franchises which quickly left the NBA. The league contracted after the 1949–1950 season, losing six teams; the Anderson Packers, Sheboygan Red Skins and Waterloo Hawks jumped to the NPBL, and the Chicago Stags, Denver Nuggets and St. Louis Bombers folded. The NBA shrank from 17 teams to 11 before the 1950–1951 season began. The Washington Capitols folded midway through the season, reducing the number of teams in the league to ten.\n\nThe Red Skins did not fit well, left the league, and joined the short-lived NPBL. When that league folded, the team returned to its independent roots for one more year of play before it also disappeared.\n\nEarly years \nThe team formed in Sheboygan as the Ballhorns in 1933. Sponsors changed every couple of years, and the team changed its name to match its current sponsor. Successful playing regional rivals and distant touring teams, they were invited to join the fledgling NBL in 1938. Now a full-time professional organization with an extensive traveling schedule, it took more than one local business to support the team. A syndicate of Sheboygan community members incorporated the team as the Red Skins, and they gradually became successful.\n\nBarnstorming roots \nBefore joining the NBL, Sheboygan had developed a reputation in the Midwest during the early 1930s for successful industrial-league and barnstorming teams. The Ballhorns, sponsored by a local furniture store and funeral parlor, began in 1933; local tailor and dry cleaner Art Imig took over in 1935, and gelatin producer Enzo-Pac sponsored the team two years later.\n\nBrothers Johnny and Joe \"Scoop\" Posewitz, Les Kuplic, Slim Lonsdorf, Carl Roth, Pete and Dugan Norris, and John Cinealis were among the better Sheboygan players during the decade. The Jack Mann, one of the first outstanding Black players in the game, starred at center during the 1936–37 season. In 1937–38, they had a 17–3 record against teams such as the New York Renaissance, Harlem Globetrotters, New York Celtics and Chicago Duffy Florals.\n\nThe team had a friendly rivalry with the Oshkosh All-Stars. The All-Stars' founder and president was Lon Darling, who helped found the NBL in 1937 and became league president the following year.\n\nTransition to professional team \nAfter the successful 1937–38 season, the Enzo Jels were admitted to the NBL on June 11, 1938 at the league meeting in Oshkosh, Wisconsin with help from Darling. They were soon taken over by a group of local business leaders and renamed the Red Skins. Their first coach was Edwin \"Doc\" Schutte, a local dentist.\n\nAfter compiling an 11–17 record in his only season, Schutte stepped down to devote more time to his practice. The Red Skins were consistent winners under attorney and coach Frank Zummach from 1939 to 1942, including a spot opposite the Oshkosh All-Stars in the 1941 NBL finals. Zummach (an assistant coach at Marquette University for six seasons) formed his team around Marquette alumni, including All-American Dave Quabius, Glenn R. \"Sparky\" Adams, George Hesik, Bill McDonald and Paul Sokody. Sandlotter Otto Kolar, from Cicero, Illinois, was rated one of the Midwest's best guards and ran the Red Skins offense.\n\nArenas \n\nThe Red Skins left the 1,500-seat Eagle Auditorium in downtown Sheboygan in late 1942 and moved into the 3,500-seat Sheboygan Municipal Auditorium and Armory, five blocks away near Lake Michigan. The Eagle Auditorium, part of the Playdium building, was destroyed by fire in 1977.\n\nKnown as \"the Armory,\" the armory was a WPA project and contained the NBL's largest floor at the time: . It was added to Wisconsin's register of historic places in 2019.\n\nMiddle years\n\nNBL title \nThe Red Skins reached their zenith in 1942–43 under coach Carl Roth, who had played for Sheboygan's industrial-league powerhouses during the 1930s and on the first Red Skins team in 1938–39. The late-season acquisition of Hall of Fame guard Buddy Jeannette, who joined Sheboygan for their last four regular-season games and the playoffs and commuted from his home in Rochester, New York, was a significant factor in the team's 1943 NBL title. Jeannette, who worked at a Rochester defense plant and traveled to Sheboygan games primarily on weekends, averaged 15.5 points per game when final scores hovered in the 30s and 40s. Other major contributors to Sheboygan's championship team were NBL rookie of the year Ken Buehler, all-league players Ed Dancker and Ken Suesens, and shooter Rube Lautenschlager. The team received the inaugural Naismith Memorial Trophy.\n\nContinued success \nAfter winning their only NBL title, the Red Skins continued to be one of the strongest teams in professional basketball and appeared in the next three championship series (1944, 1945 and 1946) behind Mike Novaka former All-American from Loyolaand Dancker: a player who honed his skills in the Milwaukee recreational leagues. Suesens, Lautenschlager, Dick Schulz, Tony Kelly, Al Lucas, Al Moschetti and Bobby Holm were other key Red Skins during this period. The signing of Lucas, Moschetti and Holm by Basketball Hall of Famer Dutch Dehnert in 1944 was the team's first acquisition of a group of name players from the East Coast.\n\nSheboygan lost in the finals to Fort Wayne in 1944 and 1945, the latter after a 2–0 lead in the best-of-five series. They lost in 1946 to the powerhouse Rochester Royals, who had Hall of Famers Al Cervi, Bob Davies and Red Holzman. Dehnert coached the Red Skins to consecutive divisional titles, leaving after the 1945–46 season to coach the Cleveland Rebels of the Basketball Association of America.\n\nSheboygan remained among the NBL's elite teams, securing playoff berths in 1947 and 1949. Before the 1946–47 season, the Red Skins were the first NBL team to fly to the West Coast. They played at Los Angeles' Grand Olympic Auditorium and lost two close games to the Los Angeles Red Devils, whose best player was UCLA alumnus Jackie Robinson; the following spring, Robinson broke baseball's color barrier. Sheboygan finished the season with a 26–18 record (two games behind first-place Oshkosh in the Western Division), but the Red Skins lost to the All-Stars 49–47 in the fifthand decidinggame of their first-round playoff.\n\nRebuilding \nFor about a month in December 1947, Hall of Fame player Bobby McDermott was a player-coach for the Red Skins. He was obtained from the Chicago American Gears after the Professional Basketball League of America folded the previous month. McDermott played in 16 games for Sheboygan, scoring 138 points. As coach, he took the reins from Doxie Moore and had a 4–5 record. Moore resumed coaching Sheboygan after McDermott left to join the Tri-Cities Blackhawks in January 1948. The season was one of the Red Skins' most disappointing; the team was aging and in disarray, with a 23–37 record.\n\nIn 1948–49 (the NBL's last season) the Red Skins unveiled a fresh group of stars, including Kentucky All-American Bob Brannum, Valparaiso star Milt Schoon, Texas guard Danny Wagner, Washington guard Merlin \"Boody\" Gilbertson, Iowa center Noble Jorgensen and Wisconsin guard Bobby Cook. With holdovers Mike Todorovich (a first-team NBL pick in 1947–48), Wisconsin forward Paul Cloyd, University of Toledo guard Bob Bolyard, Northwestern football and basketball All-American Max Morris and player-coach Suesens (who had starred at Iowa, where he roomed with Heisman Trophy winner Nile Kinnick), the Red Skins finished their 11th season in the NBL with a 35–29 record.\n\nOnly the Oshkosh All-Stars appeared in more NBL championship series (six) than Sheboygan, or played more seasons in the league (12). The Red Skins made the NBL playoffs eight times and were invited to appear in nearly every prestigious World Pro Tournament held in Chicago. Their best finish in Chicago was in 1939, when they lost the consolation championship to the Harlem Globetrotters.\n\nFinal years \nAfter the 1948–1949 season, the team went into decline due to changes in professional basketball. Although the rival BAA had formed a few years earlier and the leagues saw an opportunity to expand the game's appeal through a merger, many NBL teams could not compete at the BAA level; they did not have corporate money or a big-city fan base. The mismatch drove many former NBL teams to leave after one season, including the Red Skins.\n\nThose teams attempted to recover by forming a new league, but it also only lasted one season. The Red Skins tried to continue, but failed to form another new league and closed after an independent run during the 1951–1952 season.\n\nNBA charter member \nOn August 3, 1949, Sheboygan and six other NBL teams merged with the 10-team BAA to become the National Basketball Association. The Red Skins, who played in the NBA's smallest arena (and market), competed in the 1949–50 season with Suesens as coach and finished with a 22–40 record: fourth place in the six-team Western Division. When Oshkosh folded soon after the merger, Sheboygan became the country's oldest professional basketball franchise. The Red Skins had a 7–2 start with home victories against the Boston Celtics, New York Knicks, Rochester Royals and Indianapolis Olympians.\n\nThe most spectacular win of the 1949–50 season was on January 5, 1950, when they defeated George Mikan and the Minneapolis Lakers 85–82 in front of a standing-room-only crowd of 3,800 fans at the Armory. Four future Hall of Famers were on the floor for Minneapolis that Thursday night: Mikan (who scored 42 points), Jim Pollard, Vern Mikkelsen and Slater Martin. The Lakers' coach was Hall of Famer John Kundla. The victory against that season's eventual NBA champion gave the Red Skins a 13–13 record, after which injuries took their toll and the team faded. They qualified for the playoffs, however, where they nearly upset the Western Division champion Indianapolis Olympians in a best-of-three series.\n\nNational Professional Basketball League \nThe team was unwelcome in the NBA during their first season. Ned Irish, president of the New York Knicks, refused to participate in the same league as the \"bush leagues\": small-city charter NBA teams from the NBL, such as the Red Skins, Waterloo Hawks and Anderson Packers. Sheboygan withdrew from the NBA on April 24, 1950, and joined the new National Professional Basketball League with several other NBA teams.\n\nThe NPBL formed around the former NBL/NBA teams, with larger-market teams added. The charter teams were the East Division Red Skins, Anderson Packers, Louisville Alumnites and Grand Rapids Hornets, and the West Division Denver Refiners/Evansville Agogans, Saint Paul Lights, Kansas City Hi-Spots and Waterloo Hawks. Sheboygan posted the NPBL's best record (29–16) in 1950–51. Sheboygan and Waterloo finished first in their respective divisions, but the league did not conduct a playoff and dissolved at the end of the regular season. Both teams claimed the championship, based on division play.\n\nAttempt to survive \nIn summer 1951, longtime Red Skins president Magnus Brinkman led a drive to form a league which would have been called the Western Basketball Association, consisting of eight to 10 teams and seeking two other NBA castoffs: the Waterloo Hawks and the Anderson Packers. Competition from the NBA became too great, however, and the effort failed.\n\nThe Red Skins played one season of independent basketball, in 1951–52, before dissolving. Bobby Cook, who had scored an NBA-record 44 points in a Red Skins home game against the Denver Nuggets in January 1950, coached the team. The final Sheboygan Red Skins team consisted of several former University of Wisconsin players and compiled a winning record, primarily playing other independent Midwest teams. Attendance was low, however, and the team discontinued operations after losing its final game to the College All-Stars at the Armory.\n\nNotable alumni \n\n Bob Bolyard\n Bob Brannum\n Ken Buehler\n Jack Burmaster\n Paul Cloyd\n Bobby Cook\n Ed Dancker\n Merlin \"Boody\" Gilbertson\n John Givens\n Luther Harris\n George Hesik\n Bobby Holm\n Noble Jorgensen\n Tony Kelly\n Otto Kolar\n John Kotz\n Les Kuplic\n Walt Lautenbach\n Rube Lautenschlager\n Fred B. Lewis\n Slim Lonsdorf\n Al Lucas\n Bill McDonald\n Max Morris\n Al Moschetti\n Mike Novak\n Wally Osterkorn\n Jack Phelan\n Joe \"Scoop\" Posewitz\n Johnny Posewitz\n Dave Quabius\n Carl Roth\n Milt Schoon\n Paul Sokody\n Kenny Suesens\n Mike Todorovich\n Danny Wagner\n\nNaismith Basketball Hall of Fame\n\nHead coaches \n Edwin \"Doc\" Schutte, 1938–39\n Frank Zummach, 1939–1942\n Carl Roth, 1942–1944\n Henry \"Dutch\" Dehnert, 1944–1946\n Doxie Moore, 1946–1948\n Bobby McDermott, 1947–48 (player-coach)\n Ken Suesens, 1948–1951 (player-coach in 1948–49)\n Bobby Cook, 1951–52 (player-coach)\n\nSeason-by-season records \n\n|-\n!colspan=\"6\"|Sheboygan Red Skins (NBL)\n|-\n|1938–39 ||11||17||0.393|| ||\n|-\n|1939–40 ||15||13||0.536||1–2||Lost Western Division finals\n|-\n|1940–41 ||13||11||0.542||2–4||Lost NBL finals\n|-\n|1941–42 ||10||14||0.417|| ||\n|-\n|1942–43 ||12||11||0.522||4–1||NBL champions\n|-\n|1943–44 ||14||8||0.636||2–4||Lost NBL finals\n|-\n|1944–45 ||19||11||0.633||4–4||Lost NBL finals\n|-\n|1945–46 ||21||13||0.618||3–5||Lost NBL finals\n|-\n|1946–47 ||26||18||0.591||2–3||Lost Western Division semifinals\n|-\n|1947–48 ||23||37||0.383|| || \n|-\n|1948–49 ||35||29||0.547||0–2||Lost Western Division semifinals\n|-\n!colspan=\"6\"|Sheboygan Red Skins (NBA)\n|-\n|1949–50 ||22||40||0.355||1–2||Lost Western Division semifinals\n|-\n!colspan=\"6\"|Sheboygan Red Skins (NPBL)\n|-\n|1950–51 ||29||16||0.644|| ||Top mark when league dissolved\n|-\n\nReferences\n\nFurther reading\n\nExternal links \nComplete Sheboygan Redskins History\n\n \n1938 establishments in Wisconsin\n1952 disestablishments in Wisconsin\nBasketball teams established in 1938\nBasketball teams disestablished in 1952\nDefunct National Basketball Association teams\nNational Professional Basketball League (1950–51)\nSheboygan, Wisconsin",
"The TSN All-Star Curling Skins Game is an annual curling bonspiel hosted by The Sports Network. \"Skins\" curling had been developed as a way to make curling more interesting on TV during the time before the free guard zone rule was implemented. The bonspiel was held annually from 1986 to 2004 before being revived as the Casino Rama Curling Skins Game in 2007. In 2013, Dominion of Canada took over naming rights to the event, which also shifted into an all-star format featuring teams of top Canadian curling players, but the format reverted to the original format in 2015, when Pinty's acquired the naming rights to the event.\n\nIn skins curling, teams compete for \"skins\" rather than points. A team can win a skin by stealing an end or scoring two or more points in an end while with the hammer.\n\nHistory\nThe first Skins Game was held in 1986 in Newmarket, Ontario.\n\nMcCain TSN Skins Game\nIn 1989, McCain Foods Limited teamed up with TSN, and the tournament became known as the \"McCain TSN Skins Game.\" The tournament was held every year until 2004. The McCain skins event involved four teams: the defending champion, the defending Brier champion, and the winner of an east and west Superspiel.\n\nA women's skins game was also held from 1996 to 2003 and was sponsored by JVC.\n\nCasino Rama TSN Skins Game\nAfter three years of the event's absence, TSN revived the event in December 2007, with Casino Rama as the main sponsor. It was held at the Casino Rama Entertainment Centre until 2013. From 2007 to 2011, it had a total cash purse of $100,000. It was reduced to $75,000 in 2012, but was increased back to $100,000 in 2013.\n\nThe 2007 event was held on December 8 and 9 and featured the teams of 2006 Olympic Champion Brad Gushue, 1987, 1993 & 2007 World Champion Glenn Howard, 2002 Olympic silver medalist Kevin Martin and 1993 & 1998 World Champion Wayne Middaugh. The second edition was held January 10 and 11, 2009 and featured defending champion (and 2008 World Champion) Kevin Martin, Howard, 1989, 2002, 2003 & 2005 World Champion Randy Ferbey, and for the first time, a women's team, skipped by 2008 World Women's Champion, Jennifer Jones. The 2010 event was notable for the victory of the World Champion David Murdoch rink, who became the first non-Canadian to skip the winning skins game team. The 2011 event included the Olympic women's silver medalist team Cheryl Bernard, the second women's team to appear at the Skins Game.\n\nAll-Star Curling Skins Game\nIn 2013, the Dominion of Canada General Insurance Company became the title sponsor of the event, and the name of the event was adjusted to The Dominion All-Star Curling Skins Game. The format of the event was preserved, but the new event established new qualification rules which would put together four all-star teams from the top ten teams in the Canadian Curling Association's rankings.\n\nDuring the 2013 broadcast it was announced future Dominion All-Star Curling Skins Games would be held at a different location, to be announced.\n\nThe Travelers Companies took over sponsorship of the event for 2014 (which was held in Banff, Alberta) following its acquisition of The Dominion. Food brand Pinty's acquired title sponsorship for 2015.\n\nThe event was not held in 2018 due to the 2018 Winter Olympics, but returned in 2019 as the TSN All-Star Curling Skins Game.\n\nCompetition format\nThe event consists of three games, two semifinals games and one final game. Each game consists of eight ends of play, and each end is worth a different amount of money. The winners of the two semifinals games will compete in the final.\n\nFrom 2007 to 2012, the event consisted of four teams that were invited by the sponsors. They usually included the defending champion, the most recent Brier champion and/or the most recent World Champion. Occasionally a woman's team was invited.\n\nIn 2013 and 2014, the teams were selected based on fan voting on TSN's website, similar to All-Star games in other sports. The top ten teams on the CCA rankings system in the previous year were nominated, and the top four skip selections based on fan voting participated in a draw two days prior to the event. Each skip in turn chose players from the top four third, second and lead selections based on fan voting, and the four All-Star teams competed in the established format.\n\nIn 2015, the event reverted to the previous invite-based system, and a women's division was added to the event.\n\nPast champions\n\nMen\n\nWomen\n\nExternal links\n\nReferences\nGeneral\n \"Canada Curls\" by Doug Maxwell\n Soudog's Curling History Site\n tsn.ca: \"Field set for Casino Rama Skins game\"\nSpecific\n\nCurling competitions in Canada\n \nThe Sports Network"
] |
[
"Joe Gibbs",
"Second stint with Redskins (2004-2008)",
"Did Gibbs make the playoffs in his second stint with the team?",
"I don't know.",
"What was the teams record in his second stint with the 'Skins?",
"I don't know."
] |
C_6b9bf549ec084c2ca49cb132d8f372d1_0
|
Who was one of his star players?
| 3 |
Who was one of Gibbs' star players?
|
Joe Gibbs
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Throughout his retirement, many NFL owners approached Gibbs hoping to lure him out of retirement, but to no avail. Some owners even offered to move his entire NASCAR racing team to their team's city if he came back. The only team he seriously considered coming back for was the Carolina Panthers when they first joined the NFL as an expansion in 1995. However, he did not believe he would be able to manage his time between his race team and coaching. In 1999, he was part of a group that was trying to buy the Redskins but ultimately failed. In 2002, Gibbs and a small group of investors bought five percent of the Atlanta Falcons from owner Arthur Blank for $27 million. It wasn't until late 2003 when Gibbs really started to catch the football fever again. Blank and his general manager, Rich McKay moved quickly to interview him for the Falcons' vacant head coaching position due to the firing of Dan Reeves. However, when Gibbs found out that Steve Spurrier resigned as the Redskins' head coach, they realized that even though Gibbs was one of the team's minority owners, his loyalty still lies with the Redskins. It is well documented that Daniel Snyder had been turned down by Gibbs several times before. On December 31, 2003, Snyder's private plane (Redskin One) was spotted at an airport outside of Charlotte, North Carolina. After spending 11 years in retirement from the NFL, Snyder successfully lured Gibbs out of retirement. Gibbs' change of heart was quite a surprise to the football and NASCAR worlds. During his January 7 press conference, a visibly emotional Snyder welcomed him back. Gibbs then stated that even though he enjoyed NASCAR immensely, he had missed coaching in the NFL. And although he had fielded offers in the past, he could only see himself coaching for the Redskins. Because of his credibility, Gibbs was able to assemble one of the largest and most experienced coaching staffs in the NFL. Many coaches from his previous tenure with the team returned with Gibbs as well, including offensive line coach/assistant head coach Joe Bugel, offensive coordinator Don Breaux, quarterbacks coach Jack Burns, and tight ends coach Rennie Simmons. Gibbs was able to lure former Buffalo Bills head coach Gregg Williams to join the Redskins to run the defense and hired one of his former running backs, Ernest Byner to serve as running backs coach. Overall, many of his assistant and position coaches were either former head coaches and/or held top assistant coaching positions with other NFL teams. Gibbs left his racing team in the hands of his eldest son, J.D., while his other son, Coy, joined him as an assistant with the Redskins. CANNOTANSWER
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head coach Joe Bugel, offensive coordinator Don Breaux, quarterbacks coach Jack Burns, and tight ends coach Rennie Simmons.
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Joe Jackson Gibbs (born November 25, 1940) is an American auto racing team owner and former professional football coach. In football, he was head coach for the Washington Redskins of the National Football League (NFL) from 1981 to 1992, and again from 2004 to 2007. During his first stint with the Redskins, he led them to eight playoff appearances, four NFC Championship titles, and three Super Bowl titles over 12 seasons. Gibbs is the only head coach to have won Super Bowls with three different starting quarterbacks. Gibbs is widely regarded as one of the greatest coaches in NFL history.
After retiring at the end of the 1992 season, he switched focus to NASCAR, forming the team Joe Gibbs Racing, which has since won five NASCAR Cup Series championships. In 2004, Gibbs came out of retirement to rejoin the Redskins as head coach, staying with them until 2007 when he again retired following the season's end. Gibbs was inducted into the Pro Football Hall of Fame in 1996, as well as being named to the NFL 100 All-Time Team. Gibbs was also inducted into the NASCAR Hall of Fame in 2020. Gibbs is the only person to have won a Super Bowl and a NASCAR Cup Series Championship, and be inducted into both the Pro Football and NASCAR Halls of Fame.
Early career
Born in Mocksville, North Carolina, Gibbs is the oldest of two sons of Jackson Ceufud (1916–1989) and Winnie Era (Blalock) Gibbs (1915–2000). Gibbs graduated from Santa Fe High School in 1959, where he was the star quarterback. Gibbs attended Cerritos Junior College and then San Diego State University (SDSU), coached by Don Coryell. Gibbs graduated from SDSU in 1964 and earned a master's degree in 1966.
Gibbs began his career with a stint as offensive line coach at San Diego State under Coryell (1964–1966). He held the same position under Bill Peterson at Florida State (1967–1968) before serving under John McKay at Southern California (1969–1970) and Frank Broyles at Arkansas (1971–1972). Gibbs then advanced to the National Football League, hired as the offensive backfield coach for the St. Louis Cardinals (1973–1977) by head coach Don Coryell. After a season as offensive coordinator for the Tampa Bay Buccaneers (1978) under McKay, Gibbs rejoined Coryell with the San Diego Chargers (1979–1980).
As the offensive coordinator for San Diego, Gibbs spearheaded the highly successful "Air Coryell" offense. Using a sophisticated passing attack, the Chargers and quarterback Dan Fouts set multiple offensive records during Gibbs' two seasons there. Remarkably, the Chargers averaged more than 400 yards of offense per game during their 1980 season. After 17 years of coaching as an assistant, the Washington Redskins offered Gibbs their head coaching position.
Washington Redskins (1981–1992)
After firing then-head coach Jack Pardee, Redskins owner Jack Kent Cooke was on the lookout for candidates. When general manager Bobby Beathard pointed out the 40-year-old San Diego assistant coach, Cooke, who had a keen eye for spotting leadership and an ability to teach (he also hired Jerry West and Sparky Anderson to their first managerial/executive jobs), saw Gibbs' potential during an interview and hired him.
Gibbs' first season with the Redskins started inauspiciously when the team lost their first five games. Cooke famously expressed confidence in Gibbs, declaring that the team would finish 8-8. The losses and Cooke's confidence served as a catalyst, and the newly motivated team improved and reached an even 8–8 record in 1981.
Gibbs' second season with the Redskins, which was shortened by a players strike, saw them defeat the Miami Dolphins 27–17 in Super Bowl XVII. In 1983, Gibbs' success continued with a 14–2 regular-season record and a win against the Los Angeles Rams 51–7 at home, in the divisional round of the playoffs. The Redskins once again won an NFC Championship, defeating the San Francisco 49ers 24–21 on a last-second field goal, advancing to Super Bowl XVIII. The Redskins were installed as a 2-point favorite by Nevada books going into the game, but were soundly defeated by the Los Angeles Raiders 38–9.
The 1984 Redskins won the NFC East with an 11–5 record and hosted a home playoff game against the Chicago Bears but lost 23–19.
Gibbs coached the 1985 Redskins to a 10–6 regular-season record and barely missed the playoffs. During the season Joe Theismann broke his leg during a Monday Night Football game against the New York Giants, but the Redskins still won the game with Jay Schroeder at quarterback.
In 1986, Gibbs coached the team to a 12–4 regular-season record and defeated the Los Angeles Rams 19–7 in the wild card playoffs, then upset the defending champion Chicago Bears 27–13 in the divisional round, on the road, to get back to the NFC Championship game against the New York Giants. The Giants would win 17–0. It was to be Gibbs' only NFC championship game loss.
The 1987 Redskins made the playoffs and again defeated the Chicago Bears 21–17 on the road in the divisional round, then beat the Minnesota Vikings 17–10 at home in the NFC Championship Game, then at Super Bowl XXII, they rode the arm of quarterback Doug Williams to blow out the Denver Broncos 42–10.
Four years later, the Redskins won their first 11 games before finishing the season 14–2, and cruised through the playoffs with home victories over the Atlanta Falcons (24–7) and Detroit Lions (41–10). In Super Bowl XXVI, the Redskins were up 24–0 on the Buffalo Bills just 16 seconds into the third quarter, and 37–10 with over 11 minutes to go when Gibbs pulled most of his starters. The Bills would score two cosmetic touchdowns for a final score of 37–24. The victory gave Gibbs and the team their third Super Bowl title.
Gibbs returned for the 1992 regular season to defend the Redskins' Super Bowl crown from the previous year. The Redskins finished with a lesser record at 9–7 and 3rd place in the NFC East. They needed a bit of help to make the playoffs and they got it after a loss by the Green Bay Packers got them in as the last Wild Card entry. In the Wild Card round, the Redskins defeated the Minnesota Vikings on the road, by the score of 24–7, however they would fall in the Divisional Round to the San Francisco 49ers in a road game by the score of 20–13, ending the Redskins' hopes of retaining their Super Bowl crown. Two months after Super Bowl XXVII, Gibbs retired on March 5, 1993, surprising many in the organization and around the league. Center Jeff Bostic called it "probably the biggest shock I've gotten in my life." A notorious workaholic, he had begun to suffer health problems, and he cited a desire to spend more time with his family.
From 1994 to 1997, Gibbs served as a color analyst on NBC Sports' NFL pregame show.
In 1996, Gibbs was enshrined in the Pro Football Hall of Fame. He was one of the winningest coaches in the NFL, with a record of 124–60, and a post-season record of 16–5. His combined winning percentage of .683 was third all-time (behind Vince Lombardi and John Madden). In his 12 seasons so far, the Redskins won 4 NFC East titles, reached the playoffs 8 times, and finished with a losing record only one season (7–9 in 1988). Gibbs is the only NFL coach to win three Super Bowls with three different starting quarterbacks and three different starting running backs.
Style of play
Although Gibbs helped craft a passing-oriented attack during his time in San Diego, his Redskins teams incorporated a smash-mouth, rushing-oriented attack called the counter trey. By building a strong offensive line (known as "The Hogs") Gibbs was able to control the line of scrimmage, allowing workhorse running backs John Riggins, George Rogers, and Earnest Byner to power the ground game. Gibbs added a deep passing attack which complemented the ground game, utilizing agile receivers such as Art Monk, Gary Clark, and Ricky Sanders. Gibbs' offense was aided by aggressive defensive units under the direction of defensive coordinator Richie Petitbon.
Gibbs' system was robust enough to be successful without a Hall-of-Fame-caliber quarterback at the helm. The Redskins' Super Bowl victories were won featuring Joe Theismann, Doug Williams, and Mark Rypien—capable players who were very successful along with their strong supporting cast.
Gibbs is credited with inventing the single back, double or triple tight end set. He used it to neutralize Hall of Fame linebacker Lawrence Taylor, realizing that to successfully block him with a running back was impossible. An extra tight end and a tackle were required as well. The extra tight end provided additional protection for the quarterback. Gibbs was also credited for creating the Trips formation: stacking three wide receivers to one side. Gibbs incorporated shifts and motions for which his offenses were known. The formations created mismatches and confused the opposing defenses which were subsequently exploited. He is one of few coaches that utilized the H-back position prominently in his offense.
Joe Gibbs Racing (1992–present)
Gibbs created his NASCAR team, Joe Gibbs Racing in 1992, a year before he first retired from the NFL. The first driver for his team was Dale Jarrett (1992–1994), with the sponsor Interstate Batteries, and the number 18. His son, J. D. Gibbs, was the president of Joe Gibbs Racing and oversaw daily operations of each of the teams since his father's return to the NFL.
The team currently fields four cars in the NASCAR Cup Series and two in the NASCAR Xfinity Series.
NASCAR
Cup Series teams
No. 11 Denny Hamlin
No. 18 Kyle Busch
No. 19 Martin Truex Jr.
No. 20 Christopher Bell
Xfinity Series teams
No. 19 Brandon Jones
No. 54 Ty Gibbs
NASCAR championships
2000 – Bobby Labonte, No. 18 Interstate Batteries Pontiac, Winston Cup Series
2002 – Tony Stewart, No. 20 Home Depot Pontiac, Winston Cup Series
2005 – Tony Stewart, No. 20 Home Depot Chevrolet, Nextel Cup Series
2007 – Joey Logano, No. 20 Joe Gibbs Driven Racing Oil Chevrolet, Busch East Series
2009 – Kyle Busch, No. 18 Z-Line Toyota, Nationwide Series
2015 – Kyle Busch, No. 18 M&M's Toyota, Sprint Cup Series
2016 – Daniel Suárez, No. 19 Arris Toyota, Xfinity Series
2019 – Kyle Busch, No. 18 M&M's Toyota, Monster Energy Cup Series
2021 - Daniel Hemric, No. 18 Poppy Bank Toyota, Xfinity Series
NHRA
Beginning in 1995, Gibbs fielded three cars in the NHRA, one, in each professional category:
the Funny Car, driven by Cruz Pedregon
the Top Fuel dragster, driven by Cory McClenathan
the Pro Stock Firebird, driven by Jim Yates
Yates would bring home 2 NHRA Winston Pro Stock Championships in 1996 and 1997. McDonald's was the primary sponsor on all three cars from 1995 to 1997. In 1998 Cruz Pedregon would be sponsored by Interstate Batteries and Jim Yates by SplitFire.
Pedregon won Gibbs' first NHRA National Event as a team owner at the 1995 NHRA Chief Auto Parts Winternationals. He would couple that with a victory at the '95 NHRA U.S. Nationals, 3rd for Pedregon in 4 years at the U.S. Nationals. Pedregon continued to race for Gibbs until mid-season (Englishtown, New Jersey) in 1999. Ending with a final-round appearance, Pedregon left to race on his own, and was replaced by Tommy Johnson Jr. would win his first Fuel Funny Car win with Gibbs at the '99 NHRA Keystone Nationals and would go to the next two final rounds, scoring another victory in the process. It was announced that after the '99 season, Gibbs team would be reduced to a two-car team, and the Funny Car team was parked from then on.
McClenathan finished 2nd in NHRA Winston Top Fuel points in both 1997 and 1998 with Gibbs. In 1997, McClenathan went on a hot streak, sweeping the famed Western Swing (Denver, Sonoma, Seattle) and a total four wins in a row, 5 in 6 races since Denver, including a final round at the U.S. Nationals in '97. He also took Gibbs' MBNA Top Fuel Dragster to a $200,000 payday, winning the 2000 NHRA Winston No-Bull Showdown, pitting Top Fuel Dragsters against Funny Cars in a 24 car shootout.
Gibbs announced that he would focus solely on his NASCAR teams following the 2000 season, ending the six-year-long relationship with NHRA.
Motocross
In 2008, Gibbs branched out into motorcycle racing, forming the JGRMX team competing in the AMA motocross and supercross championships. The team is based in Huntersville, North Carolina and is managed by Gibbs' son, Coy Gibbs.
Second stint with Redskins (2004–2007)
Throughout his retirement, many NFL owners approached Gibbs hoping to lure him out of retirement, but to no avail. Some owners even offered to move his entire NASCAR racing team to their team's city if he came back. The only team he seriously considered coming back for was the Carolina Panthers when they first joined the NFL as an expansion in 1995. However, he did not believe he would be able to manage his time between his race team and coaching. In 1999, he was part of a group that was trying to buy the Redskins but ultimately failed. In 2002, Gibbs and a small group of investors bought five percent of the Atlanta Falcons from owner Arthur Blank for $27 million. It wasn't until late 2003 when Gibbs really started to catch the football fever again. Blank and his general manager, Rich McKay moved quickly to interview him for the Falcons' vacant head coaching position due to the firing of Dan Reeves.
In January 2004, Gibbs accepted an offer from Redskins owner Daniel Snyder to return as the team's head coach. At his press conference, Gibbs stated that even though he enjoyed NASCAR, he had also missed coaching in the NFL. Gibbs left his racing team in the hands of his eldest son, J.D., while his other son, Coy, joined him as an assistant with the Redskins. Many coaches from his previous tenure with the team returned with Gibbs as well, including offensive line coach/assistant head coach Joe Bugel, offensive coordinator Don Breaux, quarterbacks coach Jack Burns, and tight ends coach Rennie Simmons. Gibbs also hired former Buffalo Bills head coach Gregg Williams to join the team to run the defense and hired one of his former running backs, Earnest Byner, to serve as running backs coach.
In 2004, Gibbs had what was, up to that point, the worst season of his career with a 6-10 finish. However, the team did finish the season on a high note with a 21–18 victory over playoff-bound Minnesota. The defense also finished the season ranked third in yards allowed. Hoping to improve on the previous season's dismal passing attack, Gibbs added former Jacksonville Jaguars offensive coordinator Bill Musgrave as his quarterbacks coach. Having coached new Redskins quarterback Mark Brunell when they both were in Jacksonville, they easily formed a rapport. Musgrave's input allowed the Redskins to add a few new wrinkles to their playbook. For the first time under Gibbs, the Redskins offense utilized the shotgun formation. In the Wild Card playoff game, Gibbs led his team to a 17–10 victory over the Tampa Bay Buccaneers, to whom the Redskins suffered a 36–35 defeat earlier in the year. In the next round of the playoffs, however, the Redskins could not replicate their early-season victory over the Super Bowl-bound Seattle Seahawks, and lost to the eventual NFC Champion by the score of 20–10.
During the 2006 offseason, Gibbs hired Kansas City Chiefs' offensive coordinator Al Saunders to be associate head coach. Saunders came from a similar background as Gibbs, as both learned under Don Coryell. He took over for Gibbs as the team's primary play-caller upon joining the Redskins. This allowed Gibbs to focus more on his role as head coach and CEO and devote more time to personnel matters, defense, and special teams. Gibbs also added former Buffalo Bills defensive coordinator Jerry Gray to his staff as secondary/cornerbacks coach.
The Redskins finished 5–11 in 2006, the team's worst regular-season record under him. The following season the team suffered a tragedy when free safety Sean Taylor was shot in his home during a home robbery in November 2007 and died in the hospital a day later. However, the Redskins still qualified for the playoffs following the completion of a 9–7 regular season before being defeated by the NFC West division champions Seattle Seahawks in the first round. Gibbs retired as head coach and president in January 2008, citing family obligations. During Gibbs' four-year return to the Redskins, the team qualified for the playoffs twice, once more than it qualified for the playoffs during his 11-year absence. He was succeeded as head coach by Jim Zorn.
Head coaching record
Personal life
Gibbs currently resides in Charlotte, North Carolina, with his wife, the former Patricia Escobar. They had two sons, J. D. Gibbs and Coy Gibbs, and eight grandchildren. J. D. and his wife, Melissa, had four sons: Jackson, Miller, Jason, and Taylor. Coy Gibbs and wife Heather have three sons Ty, Case, Jet, and daughter Elle. In January 2007, Gibbs revealed that Taylor was diagnosed with leukemia, adding that his grandson had undergone surgery and received chemotherapy treatments. Gibbs is a devout Christian. His son J.D. died on January 11, 2019 after a long battle with neurological brain disease diagnosed in 2015.
Politics
On September 5, 2008, Gibbs addressed the 2008 Republican National Convention, during which he offered his support for John McCain and his hope that the McCain-Palin ticket would lead to a 'spiritual awakening' in the United States. Gibbs has long been open about his Christian faith, but notoriously reserved about articulating his political positions, because, as the old Washington joke goes, "The Redskins are the only thing that unites the town." As one of the most sought after A-List figures in Washington social circles for over a quarter-century (and even being referred to as "the most popular man in Washington" by the Washington Post), Gibbs admitted being uneasy addressing the convention, stating that it was "a little awkward to put on a partisan hat."
Awards and honors
NFL
Three-time Super Bowl champion (1982, 1987, 1991)
Two-time NFL Coach of the Year (1982, 1983)
NFL 100 All-Time Team
NASCAR
Five-time NASCAR Cup Series champion (as owner of Joe Gibbs Racing)
Two-time NASCAR Xfinity Series champion (as owner of Joe Gibbs Racing)
Halls of Fame
Pro Football Hall of Fame (class of 1996)
Washington Ring of Fame
NASCAR Hall of Fame inductee (class of 2020)
State/local
Coach Gibbs Drive - a street leading to Washington's practice facility in Ashburn, Virginia
Writing career
In 1992, Gibbs co-authored Joe Gibbs: Fourth and One, and in 2003, he co-authored Racing to Win. The books resemble a business and life how-to book and motivational guide as he discusses his successes and mistakes in his career, offering the lessons he learned as tips to the readers. In 2009, Gibbs wrote the book Game Plan for Life which discusses his life in football; how his religious faith can help others and outside of sports, as well as key topics that are important to people trying to lead a contemporary Christian lifestyle.
See also
List of National Football League head coaches with 50 wins
References
External links
Joe Gibbs Racing
1940 births
Living people
American football tight ends
American motivational writers
Arkansas Razorbacks football coaches
Atlanta Falcons owners
Cerritos Falcons football players
College football announcers
Florida State Seminoles football coaches
Motorcycle racing team owners
NASCAR team owners
National Football League announcers
San Diego Chargers coaches
San Diego State Aztecs football coaches
San Diego State Aztecs football players
St. Louis Cardinals (football) coaches
Tampa Bay Buccaneers coaches
USC Trojans football coaches
Washington Redskins head coaches
Pro Football Hall of Fame inductees
People from Buncombe County, North Carolina
Sportspeople from Los Angeles County, California
People from Loudoun County, Virginia
Players of American football from California
20th-century American non-fiction writers
21st-century American non-fiction writers
20th-century American male writers
Super Bowl-winning head coaches
People from Mocksville, North Carolina
American male non-fiction writers
21st-century American male writers
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"Chris Valicevic (born April 25, 1968) is an American former professional ice hockey defenseman of Croatian ancestry. who spent the majority of his career with the ECHL's Louisiana IceGators. He is the fifth all-time career scorer in the ECHL with 611 points.\n\nECHL\nValicevic spent seven seasons with the Louisiana IceGators, and was named to the ECHL All-Star Game seven times, an ECHL record. Of those seven times he was named to the All-Star team, he was named to the First Team All-ECHL team five time, also an ECHL record. Valicevic was also named ECHL Most Valuable Player for the 1998-1999 season. Valicevic retired with 460 assists and 611 points, which made him the career regular season and postseason leader among defensemen in assists and points. His 102 postseason games are also an ECHL record.\n\nIn 2008, Valievic was inducted into the ECHL Hall of Fame. Valicevic was joined by ECHL founder Henry Brabham, the league's first commissioner Patrick J. Kelly, and goaltender Nick Vitucci as members of the Hall of Fame's inaugural class.\n\nAwards\n1993–94: ECHL All-Star\n1995–96: ECHL All-Star\n1995–96: ECHL Defenseman Of The Year\n1996–97: ECHL All-Star\n1996–97: ECHL Defenseman Of The Year\n1997–98: ECHL All-Star\n1997–98: ECHL Defenseman Of The Year\n1998–99: ECHL All-Star\n1998–99: ECHL Defenseman Of The Year\n1998–99: ECHL Most Valuable Player\n1999–2000: ECHL All-Star\n2000–01: ECHL All-Star\n2007–08: Named to the ECHL Hall of Fame\n\nReferences\n\nExternal links\n\n1968 births\nLiving people\nAmerican men's ice hockey defensemen\nCornwall Aces players\nGreensboro Monarchs players\nHouston Aeros (1994–2013) players\nIce hockey players from Michigan\nLouisiana IceGators (ECHL) players\nPeople from Mount Clemens, Michigan\nPortland Rage players\nNew Jersey Rockin' Rollers players\nSacramento River Rats players\nSportspeople from Metro Detroit\nWorcester IceCats players",
"The Topps All-Star Rookie Team, also known as the Topps ASRT, is a set of baseball cards issued by Topps Company, Inc., every year to commemorate notable Major League Baseball rookie players.\n\nHistory \nSince the 1960s, Topps' regular-issue baseball-card sets have included a sub-set of players named to the annual Topps All-Star Rookie Team. The team usually consists of eight position players (four infielders, three outfielders, one catcher) and two pitchers (one left-hander and one right-hander). The first Topps ASR team appeared in the 1960 baseball-card series and featured a special card design that included a trophy symbol of a batter on a top hat and the phrase, \"Selected by the youth of America.\" The set included Hall-of-Famer Willie McCovey's rookie card.\n\nIn 1961, Topps moved to including a trophy symbol that included the phrase \"Topps 1960 All-Star Rookie\" on cards that followed the same design as the rest of the regular issue. This practice continued until 1973, when the symbol was changed to a gold cup bearing the words \"Topps All-Star Rookie.\" Topps left the symbol off the 1974 cards, marking the first year since 1960 that the players were not recognized on the card faces. The gold cups reappeared in 1975 and stayed through 1978. In 1979, Topps once again left the symbol off the cards and it stayed off through the 1986 release. During the years when the symbol did not appear, a list of All-Star Rookies was still selected, though there was no regular indication of it on the cards.\n\nThe 1987 Topps baseball set featured a throwback design paying homage to the 1962 set. The 1962 cards had a wood-grain design on the borders and had included the All-Star Rookie trophy on team members' cards. Topps brought back the gold cup symbol on the 1987 cards. The set, the most recent release at the time of this article, included the 35th straight Topps All-Star Rookie Team and the 53rd overall issue of the team commemorated by a gold symbol on the face of team members' cards.\n\nIn , a special 10-card insert set of Topps All-Star Rookies was included in packs of the regular issue. Topps combined a list of All-Star names and holographic foil design to celebrate the 40th anniversary of the Topps All-Star Rookie team. On the front, these cards featured a current player who had been named to a team in his respective rookie season. The backs of each card contained a list of players from 1959 through who had been named to the team at the position played by the player on the front of the card. The team was composed of the following:\n\n Mark McGwire, 1B\n Chuck Knoblauch, 2B\n Chipper Jones, 3B\n Cal Ripken, Jr., SS\n Manny Ramírez, OF\n Ken Griffey, Jr., OF\n José Canseco, OF\n Mike Piazza, C\n Dwight Gooden, RHP\n Billy Wagner, LHP\n\nIn , Topps once again included a 10-card insert set of Topps All-Star Rookies in packs of their regular issue set. Featuring active (as of 2013) and retired players, the backs of the cards included a summary of each player's rookie season. The players featured included:\n\n Tom Seaver, RHP\n Willie McCovey. 1B\n Joe Morgan, 2B\n Albert Pujols, 3B\n Derek Jeter, SS\n Jim Rice, OF\n Mike Trout, OF\n Ken Griffey, Jr., OF\n Johnny Bench, C\n CC Sabathia, LHP\n\nAll-Star Rookie rosters\n\nPlayers achievements \nIchiro Suzuki, named to the 2001 Topps All-Star Rookie Roster, was also named the 2001 American League MVP. Suzuki, a Nippon League superstar, was also named the AL Rookie of the Year after winning the batting average and the stolen base crowns in his first Major League campaign. Ichiro's 242 base hits set the record for the most hits in a season by a rookie.\n\nNine different pitchers have been named to an All-Star Rookie Team and then won a league Cy Young Award, given annually to the best pitchers in Major League Baseball (MLB). Tom Seaver (1967) won three CY awards (1969, 1973, 1975) during his career. Fernando Valenzuela (1981) is the first player to be named to an All-Star Rookie team and win his league's Cy Young Award during the same season. \n\nOver 41 different players have been named to an All-Star Rookie Team and then won a league MVP award. Albert Pujols (2001) and Mike Trout (2012) each earned three MVP awards (Pujols: 2005, 2008, 2009; Trout: 2014, 2016, 2019). \n\nFred Lynn (1975) and Ichiro Suzuki (2001) are the only players to be named onto the All-Star Rookie Team and win their league's MVP Award during the same season.\n\nIn 2021, Shohei Ohtani (2018) was named MVP for the American League. Bryce Harper (2012) was named MVP for the National League.\n\nMany players named to a Topps All-Star Rookie team have also played in a Major League Baseball All-Star game. The most prolific All-Star was Cal Ripken, Jr., who appeared on 19 All-Star rosters.\n\nIn 1995, 2001, and 2005, both Managers of the Year were former All-Star Rookie Team members. In '95 it was Don Baylor and Lou Piniella, in '01 it was Larry Bowa and Piniella, and in '05 it was Bobby Cox and Ozzie Guillén. \n\nTwenty-seven players named to the Topps All-Star Rookie Team have been inducted into the National Baseball Hall of Fame:\n\nWillie McCovey, 1959\nRon Santo, 1960\nBilly Williams, 1961\nTony Oliva, 1964\nJoe Morgan, 1965\nTony Pérez, 1965\nRod Carew, 1967\nTom Seaver, 1967\nJohnny Bench, 1968\nCarlton Fisk, 1972\nGary Carter, 1975\nJim Rice, 1975\nAndre Dawson, 1977\nEddie Murray, 1977\nPaul Molitor, 1978\nOzzie Smith, 1979\nTim Raines, 1981\nCal Ripken, Jr., 1981-1982\nRyne Sandberg, 1982\nKirby Puckett, 1984\nKen Griffey, Jr., 1989\nLarry Walker, 1990\nJeff Bagwell, 1991\nIván Rodríguez, 1991\nMike Piazza, 1993\nChipper Jones, 1995\nDerek Jeter, 1996\n\nTwo players who were named to the Topps All-Star Rookie Team have been inducted into the National Baseball Hall of Fame as managers, they are Joe Torre, 1961, and Bobby Cox, 1968 (both inducted 2014).\n\nTwo players were named onto the All-Star Rookie Team in their first two MLB seasons:\nCal Ripken, Jr. was named the All-Star Rookie shortstop his first two seasons. His cards appeared in the 1982 and 1983 sets –neither one included the gold trophy symbols.\nRyan Mountcastle was an outfielder on 2020 All-Star Rookie Team and the first baseman on the 2021 All-Star Rookie Team.\n\nSee also \n Baseball America All-Rookie Team\n Baseball awards#Other individual awards\n\nReferences\n\nExternal links\n \n Baseball-Reference.com\n Baseball-Almanac.com"
] |
[
"Joe Gibbs",
"Second stint with Redskins (2004-2008)",
"Did Gibbs make the playoffs in his second stint with the team?",
"I don't know.",
"What was the teams record in his second stint with the 'Skins?",
"I don't know.",
"Who was one of his star players?",
"head coach Joe Bugel, offensive coordinator Don Breaux, quarterbacks coach Jack Burns, and tight ends coach Rennie Simmons."
] |
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What can you tell me about the Coach Gibbs teams?
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What can you tell me about the Coach Gibbs teams?
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Joe Gibbs
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Throughout his retirement, many NFL owners approached Gibbs hoping to lure him out of retirement, but to no avail. Some owners even offered to move his entire NASCAR racing team to their team's city if he came back. The only team he seriously considered coming back for was the Carolina Panthers when they first joined the NFL as an expansion in 1995. However, he did not believe he would be able to manage his time between his race team and coaching. In 1999, he was part of a group that was trying to buy the Redskins but ultimately failed. In 2002, Gibbs and a small group of investors bought five percent of the Atlanta Falcons from owner Arthur Blank for $27 million. It wasn't until late 2003 when Gibbs really started to catch the football fever again. Blank and his general manager, Rich McKay moved quickly to interview him for the Falcons' vacant head coaching position due to the firing of Dan Reeves. However, when Gibbs found out that Steve Spurrier resigned as the Redskins' head coach, they realized that even though Gibbs was one of the team's minority owners, his loyalty still lies with the Redskins. It is well documented that Daniel Snyder had been turned down by Gibbs several times before. On December 31, 2003, Snyder's private plane (Redskin One) was spotted at an airport outside of Charlotte, North Carolina. After spending 11 years in retirement from the NFL, Snyder successfully lured Gibbs out of retirement. Gibbs' change of heart was quite a surprise to the football and NASCAR worlds. During his January 7 press conference, a visibly emotional Snyder welcomed him back. Gibbs then stated that even though he enjoyed NASCAR immensely, he had missed coaching in the NFL. And although he had fielded offers in the past, he could only see himself coaching for the Redskins. Because of his credibility, Gibbs was able to assemble one of the largest and most experienced coaching staffs in the NFL. Many coaches from his previous tenure with the team returned with Gibbs as well, including offensive line coach/assistant head coach Joe Bugel, offensive coordinator Don Breaux, quarterbacks coach Jack Burns, and tight ends coach Rennie Simmons. Gibbs was able to lure former Buffalo Bills head coach Gregg Williams to join the Redskins to run the defense and hired one of his former running backs, Ernest Byner to serve as running backs coach. Overall, many of his assistant and position coaches were either former head coaches and/or held top assistant coaching positions with other NFL teams. Gibbs left his racing team in the hands of his eldest son, J.D., while his other son, Coy, joined him as an assistant with the Redskins. CANNOTANSWER
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Gibbs was able to assemble one of the largest and most experienced coaching staffs in the NFL.
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Joe Jackson Gibbs (born November 25, 1940) is an American auto racing team owner and former professional football coach. In football, he was head coach for the Washington Redskins of the National Football League (NFL) from 1981 to 1992, and again from 2004 to 2007. During his first stint with the Redskins, he led them to eight playoff appearances, four NFC Championship titles, and three Super Bowl titles over 12 seasons. Gibbs is the only head coach to have won Super Bowls with three different starting quarterbacks. Gibbs is widely regarded as one of the greatest coaches in NFL history.
After retiring at the end of the 1992 season, he switched focus to NASCAR, forming the team Joe Gibbs Racing, which has since won five NASCAR Cup Series championships. In 2004, Gibbs came out of retirement to rejoin the Redskins as head coach, staying with them until 2007 when he again retired following the season's end. Gibbs was inducted into the Pro Football Hall of Fame in 1996, as well as being named to the NFL 100 All-Time Team. Gibbs was also inducted into the NASCAR Hall of Fame in 2020. Gibbs is the only person to have won a Super Bowl and a NASCAR Cup Series Championship, and be inducted into both the Pro Football and NASCAR Halls of Fame.
Early career
Born in Mocksville, North Carolina, Gibbs is the oldest of two sons of Jackson Ceufud (1916–1989) and Winnie Era (Blalock) Gibbs (1915–2000). Gibbs graduated from Santa Fe High School in 1959, where he was the star quarterback. Gibbs attended Cerritos Junior College and then San Diego State University (SDSU), coached by Don Coryell. Gibbs graduated from SDSU in 1964 and earned a master's degree in 1966.
Gibbs began his career with a stint as offensive line coach at San Diego State under Coryell (1964–1966). He held the same position under Bill Peterson at Florida State (1967–1968) before serving under John McKay at Southern California (1969–1970) and Frank Broyles at Arkansas (1971–1972). Gibbs then advanced to the National Football League, hired as the offensive backfield coach for the St. Louis Cardinals (1973–1977) by head coach Don Coryell. After a season as offensive coordinator for the Tampa Bay Buccaneers (1978) under McKay, Gibbs rejoined Coryell with the San Diego Chargers (1979–1980).
As the offensive coordinator for San Diego, Gibbs spearheaded the highly successful "Air Coryell" offense. Using a sophisticated passing attack, the Chargers and quarterback Dan Fouts set multiple offensive records during Gibbs' two seasons there. Remarkably, the Chargers averaged more than 400 yards of offense per game during their 1980 season. After 17 years of coaching as an assistant, the Washington Redskins offered Gibbs their head coaching position.
Washington Redskins (1981–1992)
After firing then-head coach Jack Pardee, Redskins owner Jack Kent Cooke was on the lookout for candidates. When general manager Bobby Beathard pointed out the 40-year-old San Diego assistant coach, Cooke, who had a keen eye for spotting leadership and an ability to teach (he also hired Jerry West and Sparky Anderson to their first managerial/executive jobs), saw Gibbs' potential during an interview and hired him.
Gibbs' first season with the Redskins started inauspiciously when the team lost their first five games. Cooke famously expressed confidence in Gibbs, declaring that the team would finish 8-8. The losses and Cooke's confidence served as a catalyst, and the newly motivated team improved and reached an even 8–8 record in 1981.
Gibbs' second season with the Redskins, which was shortened by a players strike, saw them defeat the Miami Dolphins 27–17 in Super Bowl XVII. In 1983, Gibbs' success continued with a 14–2 regular-season record and a win against the Los Angeles Rams 51–7 at home, in the divisional round of the playoffs. The Redskins once again won an NFC Championship, defeating the San Francisco 49ers 24–21 on a last-second field goal, advancing to Super Bowl XVIII. The Redskins were installed as a 2-point favorite by Nevada books going into the game, but were soundly defeated by the Los Angeles Raiders 38–9.
The 1984 Redskins won the NFC East with an 11–5 record and hosted a home playoff game against the Chicago Bears but lost 23–19.
Gibbs coached the 1985 Redskins to a 10–6 regular-season record and barely missed the playoffs. During the season Joe Theismann broke his leg during a Monday Night Football game against the New York Giants, but the Redskins still won the game with Jay Schroeder at quarterback.
In 1986, Gibbs coached the team to a 12–4 regular-season record and defeated the Los Angeles Rams 19–7 in the wild card playoffs, then upset the defending champion Chicago Bears 27–13 in the divisional round, on the road, to get back to the NFC Championship game against the New York Giants. The Giants would win 17–0. It was to be Gibbs' only NFC championship game loss.
The 1987 Redskins made the playoffs and again defeated the Chicago Bears 21–17 on the road in the divisional round, then beat the Minnesota Vikings 17–10 at home in the NFC Championship Game, then at Super Bowl XXII, they rode the arm of quarterback Doug Williams to blow out the Denver Broncos 42–10.
Four years later, the Redskins won their first 11 games before finishing the season 14–2, and cruised through the playoffs with home victories over the Atlanta Falcons (24–7) and Detroit Lions (41–10). In Super Bowl XXVI, the Redskins were up 24–0 on the Buffalo Bills just 16 seconds into the third quarter, and 37–10 with over 11 minutes to go when Gibbs pulled most of his starters. The Bills would score two cosmetic touchdowns for a final score of 37–24. The victory gave Gibbs and the team their third Super Bowl title.
Gibbs returned for the 1992 regular season to defend the Redskins' Super Bowl crown from the previous year. The Redskins finished with a lesser record at 9–7 and 3rd place in the NFC East. They needed a bit of help to make the playoffs and they got it after a loss by the Green Bay Packers got them in as the last Wild Card entry. In the Wild Card round, the Redskins defeated the Minnesota Vikings on the road, by the score of 24–7, however they would fall in the Divisional Round to the San Francisco 49ers in a road game by the score of 20–13, ending the Redskins' hopes of retaining their Super Bowl crown. Two months after Super Bowl XXVII, Gibbs retired on March 5, 1993, surprising many in the organization and around the league. Center Jeff Bostic called it "probably the biggest shock I've gotten in my life." A notorious workaholic, he had begun to suffer health problems, and he cited a desire to spend more time with his family.
From 1994 to 1997, Gibbs served as a color analyst on NBC Sports' NFL pregame show.
In 1996, Gibbs was enshrined in the Pro Football Hall of Fame. He was one of the winningest coaches in the NFL, with a record of 124–60, and a post-season record of 16–5. His combined winning percentage of .683 was third all-time (behind Vince Lombardi and John Madden). In his 12 seasons so far, the Redskins won 4 NFC East titles, reached the playoffs 8 times, and finished with a losing record only one season (7–9 in 1988). Gibbs is the only NFL coach to win three Super Bowls with three different starting quarterbacks and three different starting running backs.
Style of play
Although Gibbs helped craft a passing-oriented attack during his time in San Diego, his Redskins teams incorporated a smash-mouth, rushing-oriented attack called the counter trey. By building a strong offensive line (known as "The Hogs") Gibbs was able to control the line of scrimmage, allowing workhorse running backs John Riggins, George Rogers, and Earnest Byner to power the ground game. Gibbs added a deep passing attack which complemented the ground game, utilizing agile receivers such as Art Monk, Gary Clark, and Ricky Sanders. Gibbs' offense was aided by aggressive defensive units under the direction of defensive coordinator Richie Petitbon.
Gibbs' system was robust enough to be successful without a Hall-of-Fame-caliber quarterback at the helm. The Redskins' Super Bowl victories were won featuring Joe Theismann, Doug Williams, and Mark Rypien—capable players who were very successful along with their strong supporting cast.
Gibbs is credited with inventing the single back, double or triple tight end set. He used it to neutralize Hall of Fame linebacker Lawrence Taylor, realizing that to successfully block him with a running back was impossible. An extra tight end and a tackle were required as well. The extra tight end provided additional protection for the quarterback. Gibbs was also credited for creating the Trips formation: stacking three wide receivers to one side. Gibbs incorporated shifts and motions for which his offenses were known. The formations created mismatches and confused the opposing defenses which were subsequently exploited. He is one of few coaches that utilized the H-back position prominently in his offense.
Joe Gibbs Racing (1992–present)
Gibbs created his NASCAR team, Joe Gibbs Racing in 1992, a year before he first retired from the NFL. The first driver for his team was Dale Jarrett (1992–1994), with the sponsor Interstate Batteries, and the number 18. His son, J. D. Gibbs, was the president of Joe Gibbs Racing and oversaw daily operations of each of the teams since his father's return to the NFL.
The team currently fields four cars in the NASCAR Cup Series and two in the NASCAR Xfinity Series.
NASCAR
Cup Series teams
No. 11 Denny Hamlin
No. 18 Kyle Busch
No. 19 Martin Truex Jr.
No. 20 Christopher Bell
Xfinity Series teams
No. 19 Brandon Jones
No. 54 Ty Gibbs
NASCAR championships
2000 – Bobby Labonte, No. 18 Interstate Batteries Pontiac, Winston Cup Series
2002 – Tony Stewart, No. 20 Home Depot Pontiac, Winston Cup Series
2005 – Tony Stewart, No. 20 Home Depot Chevrolet, Nextel Cup Series
2007 – Joey Logano, No. 20 Joe Gibbs Driven Racing Oil Chevrolet, Busch East Series
2009 – Kyle Busch, No. 18 Z-Line Toyota, Nationwide Series
2015 – Kyle Busch, No. 18 M&M's Toyota, Sprint Cup Series
2016 – Daniel Suárez, No. 19 Arris Toyota, Xfinity Series
2019 – Kyle Busch, No. 18 M&M's Toyota, Monster Energy Cup Series
2021 - Daniel Hemric, No. 18 Poppy Bank Toyota, Xfinity Series
NHRA
Beginning in 1995, Gibbs fielded three cars in the NHRA, one, in each professional category:
the Funny Car, driven by Cruz Pedregon
the Top Fuel dragster, driven by Cory McClenathan
the Pro Stock Firebird, driven by Jim Yates
Yates would bring home 2 NHRA Winston Pro Stock Championships in 1996 and 1997. McDonald's was the primary sponsor on all three cars from 1995 to 1997. In 1998 Cruz Pedregon would be sponsored by Interstate Batteries and Jim Yates by SplitFire.
Pedregon won Gibbs' first NHRA National Event as a team owner at the 1995 NHRA Chief Auto Parts Winternationals. He would couple that with a victory at the '95 NHRA U.S. Nationals, 3rd for Pedregon in 4 years at the U.S. Nationals. Pedregon continued to race for Gibbs until mid-season (Englishtown, New Jersey) in 1999. Ending with a final-round appearance, Pedregon left to race on his own, and was replaced by Tommy Johnson Jr. would win his first Fuel Funny Car win with Gibbs at the '99 NHRA Keystone Nationals and would go to the next two final rounds, scoring another victory in the process. It was announced that after the '99 season, Gibbs team would be reduced to a two-car team, and the Funny Car team was parked from then on.
McClenathan finished 2nd in NHRA Winston Top Fuel points in both 1997 and 1998 with Gibbs. In 1997, McClenathan went on a hot streak, sweeping the famed Western Swing (Denver, Sonoma, Seattle) and a total four wins in a row, 5 in 6 races since Denver, including a final round at the U.S. Nationals in '97. He also took Gibbs' MBNA Top Fuel Dragster to a $200,000 payday, winning the 2000 NHRA Winston No-Bull Showdown, pitting Top Fuel Dragsters against Funny Cars in a 24 car shootout.
Gibbs announced that he would focus solely on his NASCAR teams following the 2000 season, ending the six-year-long relationship with NHRA.
Motocross
In 2008, Gibbs branched out into motorcycle racing, forming the JGRMX team competing in the AMA motocross and supercross championships. The team is based in Huntersville, North Carolina and is managed by Gibbs' son, Coy Gibbs.
Second stint with Redskins (2004–2007)
Throughout his retirement, many NFL owners approached Gibbs hoping to lure him out of retirement, but to no avail. Some owners even offered to move his entire NASCAR racing team to their team's city if he came back. The only team he seriously considered coming back for was the Carolina Panthers when they first joined the NFL as an expansion in 1995. However, he did not believe he would be able to manage his time between his race team and coaching. In 1999, he was part of a group that was trying to buy the Redskins but ultimately failed. In 2002, Gibbs and a small group of investors bought five percent of the Atlanta Falcons from owner Arthur Blank for $27 million. It wasn't until late 2003 when Gibbs really started to catch the football fever again. Blank and his general manager, Rich McKay moved quickly to interview him for the Falcons' vacant head coaching position due to the firing of Dan Reeves.
In January 2004, Gibbs accepted an offer from Redskins owner Daniel Snyder to return as the team's head coach. At his press conference, Gibbs stated that even though he enjoyed NASCAR, he had also missed coaching in the NFL. Gibbs left his racing team in the hands of his eldest son, J.D., while his other son, Coy, joined him as an assistant with the Redskins. Many coaches from his previous tenure with the team returned with Gibbs as well, including offensive line coach/assistant head coach Joe Bugel, offensive coordinator Don Breaux, quarterbacks coach Jack Burns, and tight ends coach Rennie Simmons. Gibbs also hired former Buffalo Bills head coach Gregg Williams to join the team to run the defense and hired one of his former running backs, Earnest Byner, to serve as running backs coach.
In 2004, Gibbs had what was, up to that point, the worst season of his career with a 6-10 finish. However, the team did finish the season on a high note with a 21–18 victory over playoff-bound Minnesota. The defense also finished the season ranked third in yards allowed. Hoping to improve on the previous season's dismal passing attack, Gibbs added former Jacksonville Jaguars offensive coordinator Bill Musgrave as his quarterbacks coach. Having coached new Redskins quarterback Mark Brunell when they both were in Jacksonville, they easily formed a rapport. Musgrave's input allowed the Redskins to add a few new wrinkles to their playbook. For the first time under Gibbs, the Redskins offense utilized the shotgun formation. In the Wild Card playoff game, Gibbs led his team to a 17–10 victory over the Tampa Bay Buccaneers, to whom the Redskins suffered a 36–35 defeat earlier in the year. In the next round of the playoffs, however, the Redskins could not replicate their early-season victory over the Super Bowl-bound Seattle Seahawks, and lost to the eventual NFC Champion by the score of 20–10.
During the 2006 offseason, Gibbs hired Kansas City Chiefs' offensive coordinator Al Saunders to be associate head coach. Saunders came from a similar background as Gibbs, as both learned under Don Coryell. He took over for Gibbs as the team's primary play-caller upon joining the Redskins. This allowed Gibbs to focus more on his role as head coach and CEO and devote more time to personnel matters, defense, and special teams. Gibbs also added former Buffalo Bills defensive coordinator Jerry Gray to his staff as secondary/cornerbacks coach.
The Redskins finished 5–11 in 2006, the team's worst regular-season record under him. The following season the team suffered a tragedy when free safety Sean Taylor was shot in his home during a home robbery in November 2007 and died in the hospital a day later. However, the Redskins still qualified for the playoffs following the completion of a 9–7 regular season before being defeated by the NFC West division champions Seattle Seahawks in the first round. Gibbs retired as head coach and president in January 2008, citing family obligations. During Gibbs' four-year return to the Redskins, the team qualified for the playoffs twice, once more than it qualified for the playoffs during his 11-year absence. He was succeeded as head coach by Jim Zorn.
Head coaching record
Personal life
Gibbs currently resides in Charlotte, North Carolina, with his wife, the former Patricia Escobar. They had two sons, J. D. Gibbs and Coy Gibbs, and eight grandchildren. J. D. and his wife, Melissa, had four sons: Jackson, Miller, Jason, and Taylor. Coy Gibbs and wife Heather have three sons Ty, Case, Jet, and daughter Elle. In January 2007, Gibbs revealed that Taylor was diagnosed with leukemia, adding that his grandson had undergone surgery and received chemotherapy treatments. Gibbs is a devout Christian. His son J.D. died on January 11, 2019 after a long battle with neurological brain disease diagnosed in 2015.
Politics
On September 5, 2008, Gibbs addressed the 2008 Republican National Convention, during which he offered his support for John McCain and his hope that the McCain-Palin ticket would lead to a 'spiritual awakening' in the United States. Gibbs has long been open about his Christian faith, but notoriously reserved about articulating his political positions, because, as the old Washington joke goes, "The Redskins are the only thing that unites the town." As one of the most sought after A-List figures in Washington social circles for over a quarter-century (and even being referred to as "the most popular man in Washington" by the Washington Post), Gibbs admitted being uneasy addressing the convention, stating that it was "a little awkward to put on a partisan hat."
Awards and honors
NFL
Three-time Super Bowl champion (1982, 1987, 1991)
Two-time NFL Coach of the Year (1982, 1983)
NFL 100 All-Time Team
NASCAR
Five-time NASCAR Cup Series champion (as owner of Joe Gibbs Racing)
Two-time NASCAR Xfinity Series champion (as owner of Joe Gibbs Racing)
Halls of Fame
Pro Football Hall of Fame (class of 1996)
Washington Ring of Fame
NASCAR Hall of Fame inductee (class of 2020)
State/local
Coach Gibbs Drive - a street leading to Washington's practice facility in Ashburn, Virginia
Writing career
In 1992, Gibbs co-authored Joe Gibbs: Fourth and One, and in 2003, he co-authored Racing to Win. The books resemble a business and life how-to book and motivational guide as he discusses his successes and mistakes in his career, offering the lessons he learned as tips to the readers. In 2009, Gibbs wrote the book Game Plan for Life which discusses his life in football; how his religious faith can help others and outside of sports, as well as key topics that are important to people trying to lead a contemporary Christian lifestyle.
See also
List of National Football League head coaches with 50 wins
References
External links
Joe Gibbs Racing
1940 births
Living people
American football tight ends
American motivational writers
Arkansas Razorbacks football coaches
Atlanta Falcons owners
Cerritos Falcons football players
College football announcers
Florida State Seminoles football coaches
Motorcycle racing team owners
NASCAR team owners
National Football League announcers
San Diego Chargers coaches
San Diego State Aztecs football coaches
San Diego State Aztecs football players
St. Louis Cardinals (football) coaches
Tampa Bay Buccaneers coaches
USC Trojans football coaches
Washington Redskins head coaches
Pro Football Hall of Fame inductees
People from Buncombe County, North Carolina
Sportspeople from Los Angeles County, California
People from Loudoun County, Virginia
Players of American football from California
20th-century American non-fiction writers
21st-century American non-fiction writers
20th-century American male writers
Super Bowl-winning head coaches
People from Mocksville, North Carolina
American male non-fiction writers
21st-century American male writers
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[
"\"Tell Me What You Want\" is the fourth single by English R&B band Loose Ends from their first studio album, A Little Spice, and was released in February 1984 by Virgin Records. The single reached number 74 in the UK Singles Chart.\n\nTrack listing\n7” Single: VS658\n \"Tell Me What You Want) 3.35\n \"Tell Me What You Want (Dub Mix)\" 3.34\n\n12” Single: VS658-12\n \"Tell Me What You Want (Extended Version)\" 6.11\n \"Tell Me What You Want (Extended Dub Mix)\" 5.41\n\nU.S. only release - 12” Single: MCA23596 (released 1985)\n \"Tell Me What You Want (U.S. Extended Remix)\" 6.08 *\n \"Tell Me What You Want (U.S. Dub Version)\" 5.18\n\n* The U.S. Extended Remix version was released on CD on the U.S. Version of the 'A Little Spice' album (MCAD27141).\n\nThe Extended Version also featured on Side D of the limited gatefold sleeve version of 'Magic Touch'\n\nChart performance\n\nReferences\n\nExternal links\n Tell Me What You Want at Discogs.\n\n1984 singles\nLoose Ends (band) songs\nSong recordings produced by Nick Martinelli\nSongs written by Carl McIntosh (musician)\nSongs written by Steve Nichol\n1984 songs\nVirgin Records singles",
"MadGibbs is an American hip hop duo formed in San Francisco, California. The duo is composed of Gary, Indiana-based Freddie Gibbs rapping and Oxnard, California native Madlib producing. They formed MadGibbs in late 2011 and have released four extended plays (EPs) under that name, and later two studio albums, Piñata in 2014, and Bandana in 2019, credited as Freddie Gibbs & Madlib.\n\nHistory\n\n2011–13\nOn November 18, 2011, at the Madlib Medicine Show live event at Mighty in San Francisco, Madlib brought out Freddie Gibbs and announced their first collaborative EP titled Thuggin'. The project had been concealed for at least six months until it was made available for sale at the event.\n\nGibbs performed the title track and \"Deep\" during his collaborative set with Madlib. Following the surprise performance, five hundred copies of the limited-edition EP were sold at the venue. The EP was exclusively on sale at Madlib's shows, but was made available for retail purchase on November 21, 2011, by Madlib's Madlib Invazion imprint. The EP contains two main vocal tracks, instrumentals and two bonus beats. On January 16, 2012, a music video for the lead single \"Thuggin'\", directed by Jonah Schwartz, was premiered online.\n\nSpeaking with Jay Z's Life + Times, Gibbs decoded a few lines from \"Thuggin'\", explaining how he extracted from personal experiences in Gary, Indiana, for the track: \"The song is \"Thuggin'\". First line, I say, We're not against rap, but we're against those thugs. Speaking about how society wasn't against rap music but against the thug element of it. I felt like that's what I represent,\" he said. \"What I'm rapping is what I'm living. I'm using rap as a vehicle to get me away from that type of living. You may get to that level, selling drugs and engaging in certain activities in the street,\" he continued. \"You might end up selling drugs to one of your family members, hell, you might end up shooting one of your family members. The drug and the crime shit really deteriorated our community - my community, at least. And then I say something about my uncle was addicted to drugs in the verse. That's real shit. That's a true example of a king to a fiend, someone who was a prominent and hard-working guy in the community that went from not having work and being addicted to crack cocaine.\"\n\nTheir second EP Shame was released on July 10, 2012, by Madlib Invazion in both digital and 12-inch vinyl formats. The eight-track EP includes two vocal tracks, \"Shame\" featuring singer BJ the Chicago Kid and \"Terrorist\", as well as instrumentals, a cappellas and two bonus beats by Madlib.\n\nTheir third EP Deeper, released on September 24, 2013, was the final EP in the trilogy before the release of their full-length LP, Piñata.\n\n2014\nIn a press release, Gibbs described Piñata as \"a gangster Blaxploitation film on wax\". \"I will show you my flaws, I'll show you what I've done wrong and what I've fucked up at. I don't regret shit, but I'll show you the things I'm not proud of. I'm about to show niggas how to rap again. Everybody else is going to fall in line.\" Madlib added. \"My stuff, it ain't fully quantized… it has more of a human feel, so it might slow down or speed up. So you have to be the type of rapper, like [MF Doom] or Freddie, who can catch that, or else you'll be sounding crazy.\"\n\nIn February 2014, the track list and the cover art of the album were released. The cover art shows Gibbs wearing a black Adidas tracksuit and hanging out in a neighborhood park, with a zebra print border surrounding the image. In a March 2014, interview with Rolling Stone, Madlib spoke about how they started working on the album, saying, \"I met him through Ben Lambo. He used to work at Stones Throw. I heard some of an earlier album with Jeezy on it [Gibbs' Cold Day In Hell]. And Lambo wanted to see if he could do something different over my style of beats. That's where it all started… I had gotten over eight CDs worth of music to him, and just let him pick out whatever he could vibe to. I didn't do anything special, I just let him pick stuff that he could write to. I thought he'd pick different types of beats, [but it was] all raw shit. I didn't have to tell him, but that's what he wanted to record.\" He also spoke about how they recorded the album separately, saying, \"No, he recorded the vocals on his own. Like, I handed him all the CDs, and he picked out all the beats he wanted, he recorded them at his studio, then he handed those off to me, then we finished it. I would add little things, like these choruses. That's what usually happens: I let 'em record what they want, then I add stuff as needed after that, like extra horns or whatever… I'm usually working on other thangs, you know what I mean? I don't have time to sit there and coach somebody that just already knows what to do, and that's the kind of people I usually work with… I don't want to sit there like a babysitter.\" Gibbs also spoke about how the album was recorded over three years, saying, \"We two different guys, man. I was still in the streets when I first started that Madlib album. I was, then I wasn't. You can tell the progression on the record, though. You can tell the different places that I'm in, 'cause I did it over the course of three years, coming up with the ideas and concepts.\"\n\nPreceded by their 2014 album, Knicks (Remix) was released on October 20, 2014, by Madlib Invazion in both digital and 12-inch vinyl formats. The six-track EP includes two vocal tracks, \"Knicks (Remix)\" featuring Action Bronson, Joey Bada$$ and Ransom, and \"Home\" featuring singer BJ the Chicago Kid, as well as instrumentals and two bonus beats by Madlib.\n\n2016–present\nDuring Madlib's talk with Red Bull Music Academy on May 7, 2016, he announced that he and Freddie Gibbs will be releasing a second collaborative studio album called Bandana. Madlib also mentioned that many of the rejected beats he auditioned for Kanye West's The Life of Pablo would appear on the new project. Freddie Gibbs confirmed this on Twitter while his manager tweeted a teaser picture of Madlib beats.\n\nOn February 7, 2019, Madlib posted an Instagram picture of his cartoon alter-ego Quasimoto with the cryptic caption \"we are clearing samples ...\", alluding to Bandana having finished being recorded. On February 12, Gibbs shared a clip of himself with Madlib further teasing the project and stating that they \"Might put some shit out. Might. Thinking about it. We thinking about it.\" The next day, on February 13, Gibbs continued to tease upcoming music and wrote on his Instagram story that the \"Album is done. Finished. Finito.\" On February 20, Gibbs and Madlib released the single \"Flat Tummy Tea\" and announced that Bandana was set to be released in 2019 by Keep Cool Records, RCA Records, Madlib Invazion and ESGN. A second single, the title track \"Bandana\", featuring the dancehall artist Assassin, was released on March 5, 2019. On May 11, 2019, Gibbs and Madlib announced that Bandana would be the second installment of a planned trilogy, following Piñata, and that the third would be called Montana. On May 28, 2019, the official album cover was revealed, showing Madlib's animated alter-ego Quasimoto wearing a bandana around his neck and sitting on a zebra as they watch buildings in Hollywood being set on fire. On May 30, the single \"Crime Pays\" was released and Bandana was later released June 28 to commercial and critical success.\n\nDiscography\n\nStudio albums\n\nExtended plays (EPs)\n\nSingles\n\nReferences\n\nAmerican hip hop groups\nRCA Records artists\nHip hop duos"
] |
[
"Joe Gibbs",
"Second stint with Redskins (2004-2008)",
"Did Gibbs make the playoffs in his second stint with the team?",
"I don't know.",
"What was the teams record in his second stint with the 'Skins?",
"I don't know.",
"Who was one of his star players?",
"head coach Joe Bugel, offensive coordinator Don Breaux, quarterbacks coach Jack Burns, and tight ends coach Rennie Simmons.",
"What can you tell me about the Coach Gibbs teams?",
"Gibbs was able to assemble one of the largest and most experienced coaching staffs in the NFL."
] |
C_6b9bf549ec084c2ca49cb132d8f372d1_0
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Who owned the Redskins in 2004?
| 5 |
Who owned the Redskins in 2004?
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Joe Gibbs
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Throughout his retirement, many NFL owners approached Gibbs hoping to lure him out of retirement, but to no avail. Some owners even offered to move his entire NASCAR racing team to their team's city if he came back. The only team he seriously considered coming back for was the Carolina Panthers when they first joined the NFL as an expansion in 1995. However, he did not believe he would be able to manage his time between his race team and coaching. In 1999, he was part of a group that was trying to buy the Redskins but ultimately failed. In 2002, Gibbs and a small group of investors bought five percent of the Atlanta Falcons from owner Arthur Blank for $27 million. It wasn't until late 2003 when Gibbs really started to catch the football fever again. Blank and his general manager, Rich McKay moved quickly to interview him for the Falcons' vacant head coaching position due to the firing of Dan Reeves. However, when Gibbs found out that Steve Spurrier resigned as the Redskins' head coach, they realized that even though Gibbs was one of the team's minority owners, his loyalty still lies with the Redskins. It is well documented that Daniel Snyder had been turned down by Gibbs several times before. On December 31, 2003, Snyder's private plane (Redskin One) was spotted at an airport outside of Charlotte, North Carolina. After spending 11 years in retirement from the NFL, Snyder successfully lured Gibbs out of retirement. Gibbs' change of heart was quite a surprise to the football and NASCAR worlds. During his January 7 press conference, a visibly emotional Snyder welcomed him back. Gibbs then stated that even though he enjoyed NASCAR immensely, he had missed coaching in the NFL. And although he had fielded offers in the past, he could only see himself coaching for the Redskins. Because of his credibility, Gibbs was able to assemble one of the largest and most experienced coaching staffs in the NFL. Many coaches from his previous tenure with the team returned with Gibbs as well, including offensive line coach/assistant head coach Joe Bugel, offensive coordinator Don Breaux, quarterbacks coach Jack Burns, and tight ends coach Rennie Simmons. Gibbs was able to lure former Buffalo Bills head coach Gregg Williams to join the Redskins to run the defense and hired one of his former running backs, Ernest Byner to serve as running backs coach. Overall, many of his assistant and position coaches were either former head coaches and/or held top assistant coaching positions with other NFL teams. Gibbs left his racing team in the hands of his eldest son, J.D., while his other son, Coy, joined him as an assistant with the Redskins. CANNOTANSWER
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CANNOTANSWER
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Joe Jackson Gibbs (born November 25, 1940) is an American auto racing team owner and former professional football coach. In football, he was head coach for the Washington Redskins of the National Football League (NFL) from 1981 to 1992, and again from 2004 to 2007. During his first stint with the Redskins, he led them to eight playoff appearances, four NFC Championship titles, and three Super Bowl titles over 12 seasons. Gibbs is the only head coach to have won Super Bowls with three different starting quarterbacks. Gibbs is widely regarded as one of the greatest coaches in NFL history.
After retiring at the end of the 1992 season, he switched focus to NASCAR, forming the team Joe Gibbs Racing, which has since won five NASCAR Cup Series championships. In 2004, Gibbs came out of retirement to rejoin the Redskins as head coach, staying with them until 2007 when he again retired following the season's end. Gibbs was inducted into the Pro Football Hall of Fame in 1996, as well as being named to the NFL 100 All-Time Team. Gibbs was also inducted into the NASCAR Hall of Fame in 2020. Gibbs is the only person to have won a Super Bowl and a NASCAR Cup Series Championship, and be inducted into both the Pro Football and NASCAR Halls of Fame.
Early career
Born in Mocksville, North Carolina, Gibbs is the oldest of two sons of Jackson Ceufud (1916–1989) and Winnie Era (Blalock) Gibbs (1915–2000). Gibbs graduated from Santa Fe High School in 1959, where he was the star quarterback. Gibbs attended Cerritos Junior College and then San Diego State University (SDSU), coached by Don Coryell. Gibbs graduated from SDSU in 1964 and earned a master's degree in 1966.
Gibbs began his career with a stint as offensive line coach at San Diego State under Coryell (1964–1966). He held the same position under Bill Peterson at Florida State (1967–1968) before serving under John McKay at Southern California (1969–1970) and Frank Broyles at Arkansas (1971–1972). Gibbs then advanced to the National Football League, hired as the offensive backfield coach for the St. Louis Cardinals (1973–1977) by head coach Don Coryell. After a season as offensive coordinator for the Tampa Bay Buccaneers (1978) under McKay, Gibbs rejoined Coryell with the San Diego Chargers (1979–1980).
As the offensive coordinator for San Diego, Gibbs spearheaded the highly successful "Air Coryell" offense. Using a sophisticated passing attack, the Chargers and quarterback Dan Fouts set multiple offensive records during Gibbs' two seasons there. Remarkably, the Chargers averaged more than 400 yards of offense per game during their 1980 season. After 17 years of coaching as an assistant, the Washington Redskins offered Gibbs their head coaching position.
Washington Redskins (1981–1992)
After firing then-head coach Jack Pardee, Redskins owner Jack Kent Cooke was on the lookout for candidates. When general manager Bobby Beathard pointed out the 40-year-old San Diego assistant coach, Cooke, who had a keen eye for spotting leadership and an ability to teach (he also hired Jerry West and Sparky Anderson to their first managerial/executive jobs), saw Gibbs' potential during an interview and hired him.
Gibbs' first season with the Redskins started inauspiciously when the team lost their first five games. Cooke famously expressed confidence in Gibbs, declaring that the team would finish 8-8. The losses and Cooke's confidence served as a catalyst, and the newly motivated team improved and reached an even 8–8 record in 1981.
Gibbs' second season with the Redskins, which was shortened by a players strike, saw them defeat the Miami Dolphins 27–17 in Super Bowl XVII. In 1983, Gibbs' success continued with a 14–2 regular-season record and a win against the Los Angeles Rams 51–7 at home, in the divisional round of the playoffs. The Redskins once again won an NFC Championship, defeating the San Francisco 49ers 24–21 on a last-second field goal, advancing to Super Bowl XVIII. The Redskins were installed as a 2-point favorite by Nevada books going into the game, but were soundly defeated by the Los Angeles Raiders 38–9.
The 1984 Redskins won the NFC East with an 11–5 record and hosted a home playoff game against the Chicago Bears but lost 23–19.
Gibbs coached the 1985 Redskins to a 10–6 regular-season record and barely missed the playoffs. During the season Joe Theismann broke his leg during a Monday Night Football game against the New York Giants, but the Redskins still won the game with Jay Schroeder at quarterback.
In 1986, Gibbs coached the team to a 12–4 regular-season record and defeated the Los Angeles Rams 19–7 in the wild card playoffs, then upset the defending champion Chicago Bears 27–13 in the divisional round, on the road, to get back to the NFC Championship game against the New York Giants. The Giants would win 17–0. It was to be Gibbs' only NFC championship game loss.
The 1987 Redskins made the playoffs and again defeated the Chicago Bears 21–17 on the road in the divisional round, then beat the Minnesota Vikings 17–10 at home in the NFC Championship Game, then at Super Bowl XXII, they rode the arm of quarterback Doug Williams to blow out the Denver Broncos 42–10.
Four years later, the Redskins won their first 11 games before finishing the season 14–2, and cruised through the playoffs with home victories over the Atlanta Falcons (24–7) and Detroit Lions (41–10). In Super Bowl XXVI, the Redskins were up 24–0 on the Buffalo Bills just 16 seconds into the third quarter, and 37–10 with over 11 minutes to go when Gibbs pulled most of his starters. The Bills would score two cosmetic touchdowns for a final score of 37–24. The victory gave Gibbs and the team their third Super Bowl title.
Gibbs returned for the 1992 regular season to defend the Redskins' Super Bowl crown from the previous year. The Redskins finished with a lesser record at 9–7 and 3rd place in the NFC East. They needed a bit of help to make the playoffs and they got it after a loss by the Green Bay Packers got them in as the last Wild Card entry. In the Wild Card round, the Redskins defeated the Minnesota Vikings on the road, by the score of 24–7, however they would fall in the Divisional Round to the San Francisco 49ers in a road game by the score of 20–13, ending the Redskins' hopes of retaining their Super Bowl crown. Two months after Super Bowl XXVII, Gibbs retired on March 5, 1993, surprising many in the organization and around the league. Center Jeff Bostic called it "probably the biggest shock I've gotten in my life." A notorious workaholic, he had begun to suffer health problems, and he cited a desire to spend more time with his family.
From 1994 to 1997, Gibbs served as a color analyst on NBC Sports' NFL pregame show.
In 1996, Gibbs was enshrined in the Pro Football Hall of Fame. He was one of the winningest coaches in the NFL, with a record of 124–60, and a post-season record of 16–5. His combined winning percentage of .683 was third all-time (behind Vince Lombardi and John Madden). In his 12 seasons so far, the Redskins won 4 NFC East titles, reached the playoffs 8 times, and finished with a losing record only one season (7–9 in 1988). Gibbs is the only NFL coach to win three Super Bowls with three different starting quarterbacks and three different starting running backs.
Style of play
Although Gibbs helped craft a passing-oriented attack during his time in San Diego, his Redskins teams incorporated a smash-mouth, rushing-oriented attack called the counter trey. By building a strong offensive line (known as "The Hogs") Gibbs was able to control the line of scrimmage, allowing workhorse running backs John Riggins, George Rogers, and Earnest Byner to power the ground game. Gibbs added a deep passing attack which complemented the ground game, utilizing agile receivers such as Art Monk, Gary Clark, and Ricky Sanders. Gibbs' offense was aided by aggressive defensive units under the direction of defensive coordinator Richie Petitbon.
Gibbs' system was robust enough to be successful without a Hall-of-Fame-caliber quarterback at the helm. The Redskins' Super Bowl victories were won featuring Joe Theismann, Doug Williams, and Mark Rypien—capable players who were very successful along with their strong supporting cast.
Gibbs is credited with inventing the single back, double or triple tight end set. He used it to neutralize Hall of Fame linebacker Lawrence Taylor, realizing that to successfully block him with a running back was impossible. An extra tight end and a tackle were required as well. The extra tight end provided additional protection for the quarterback. Gibbs was also credited for creating the Trips formation: stacking three wide receivers to one side. Gibbs incorporated shifts and motions for which his offenses were known. The formations created mismatches and confused the opposing defenses which were subsequently exploited. He is one of few coaches that utilized the H-back position prominently in his offense.
Joe Gibbs Racing (1992–present)
Gibbs created his NASCAR team, Joe Gibbs Racing in 1992, a year before he first retired from the NFL. The first driver for his team was Dale Jarrett (1992–1994), with the sponsor Interstate Batteries, and the number 18. His son, J. D. Gibbs, was the president of Joe Gibbs Racing and oversaw daily operations of each of the teams since his father's return to the NFL.
The team currently fields four cars in the NASCAR Cup Series and two in the NASCAR Xfinity Series.
NASCAR
Cup Series teams
No. 11 Denny Hamlin
No. 18 Kyle Busch
No. 19 Martin Truex Jr.
No. 20 Christopher Bell
Xfinity Series teams
No. 19 Brandon Jones
No. 54 Ty Gibbs
NASCAR championships
2000 – Bobby Labonte, No. 18 Interstate Batteries Pontiac, Winston Cup Series
2002 – Tony Stewart, No. 20 Home Depot Pontiac, Winston Cup Series
2005 – Tony Stewart, No. 20 Home Depot Chevrolet, Nextel Cup Series
2007 – Joey Logano, No. 20 Joe Gibbs Driven Racing Oil Chevrolet, Busch East Series
2009 – Kyle Busch, No. 18 Z-Line Toyota, Nationwide Series
2015 – Kyle Busch, No. 18 M&M's Toyota, Sprint Cup Series
2016 – Daniel Suárez, No. 19 Arris Toyota, Xfinity Series
2019 – Kyle Busch, No. 18 M&M's Toyota, Monster Energy Cup Series
2021 - Daniel Hemric, No. 18 Poppy Bank Toyota, Xfinity Series
NHRA
Beginning in 1995, Gibbs fielded three cars in the NHRA, one, in each professional category:
the Funny Car, driven by Cruz Pedregon
the Top Fuel dragster, driven by Cory McClenathan
the Pro Stock Firebird, driven by Jim Yates
Yates would bring home 2 NHRA Winston Pro Stock Championships in 1996 and 1997. McDonald's was the primary sponsor on all three cars from 1995 to 1997. In 1998 Cruz Pedregon would be sponsored by Interstate Batteries and Jim Yates by SplitFire.
Pedregon won Gibbs' first NHRA National Event as a team owner at the 1995 NHRA Chief Auto Parts Winternationals. He would couple that with a victory at the '95 NHRA U.S. Nationals, 3rd for Pedregon in 4 years at the U.S. Nationals. Pedregon continued to race for Gibbs until mid-season (Englishtown, New Jersey) in 1999. Ending with a final-round appearance, Pedregon left to race on his own, and was replaced by Tommy Johnson Jr. would win his first Fuel Funny Car win with Gibbs at the '99 NHRA Keystone Nationals and would go to the next two final rounds, scoring another victory in the process. It was announced that after the '99 season, Gibbs team would be reduced to a two-car team, and the Funny Car team was parked from then on.
McClenathan finished 2nd in NHRA Winston Top Fuel points in both 1997 and 1998 with Gibbs. In 1997, McClenathan went on a hot streak, sweeping the famed Western Swing (Denver, Sonoma, Seattle) and a total four wins in a row, 5 in 6 races since Denver, including a final round at the U.S. Nationals in '97. He also took Gibbs' MBNA Top Fuel Dragster to a $200,000 payday, winning the 2000 NHRA Winston No-Bull Showdown, pitting Top Fuel Dragsters against Funny Cars in a 24 car shootout.
Gibbs announced that he would focus solely on his NASCAR teams following the 2000 season, ending the six-year-long relationship with NHRA.
Motocross
In 2008, Gibbs branched out into motorcycle racing, forming the JGRMX team competing in the AMA motocross and supercross championships. The team is based in Huntersville, North Carolina and is managed by Gibbs' son, Coy Gibbs.
Second stint with Redskins (2004–2007)
Throughout his retirement, many NFL owners approached Gibbs hoping to lure him out of retirement, but to no avail. Some owners even offered to move his entire NASCAR racing team to their team's city if he came back. The only team he seriously considered coming back for was the Carolina Panthers when they first joined the NFL as an expansion in 1995. However, he did not believe he would be able to manage his time between his race team and coaching. In 1999, he was part of a group that was trying to buy the Redskins but ultimately failed. In 2002, Gibbs and a small group of investors bought five percent of the Atlanta Falcons from owner Arthur Blank for $27 million. It wasn't until late 2003 when Gibbs really started to catch the football fever again. Blank and his general manager, Rich McKay moved quickly to interview him for the Falcons' vacant head coaching position due to the firing of Dan Reeves.
In January 2004, Gibbs accepted an offer from Redskins owner Daniel Snyder to return as the team's head coach. At his press conference, Gibbs stated that even though he enjoyed NASCAR, he had also missed coaching in the NFL. Gibbs left his racing team in the hands of his eldest son, J.D., while his other son, Coy, joined him as an assistant with the Redskins. Many coaches from his previous tenure with the team returned with Gibbs as well, including offensive line coach/assistant head coach Joe Bugel, offensive coordinator Don Breaux, quarterbacks coach Jack Burns, and tight ends coach Rennie Simmons. Gibbs also hired former Buffalo Bills head coach Gregg Williams to join the team to run the defense and hired one of his former running backs, Earnest Byner, to serve as running backs coach.
In 2004, Gibbs had what was, up to that point, the worst season of his career with a 6-10 finish. However, the team did finish the season on a high note with a 21–18 victory over playoff-bound Minnesota. The defense also finished the season ranked third in yards allowed. Hoping to improve on the previous season's dismal passing attack, Gibbs added former Jacksonville Jaguars offensive coordinator Bill Musgrave as his quarterbacks coach. Having coached new Redskins quarterback Mark Brunell when they both were in Jacksonville, they easily formed a rapport. Musgrave's input allowed the Redskins to add a few new wrinkles to their playbook. For the first time under Gibbs, the Redskins offense utilized the shotgun formation. In the Wild Card playoff game, Gibbs led his team to a 17–10 victory over the Tampa Bay Buccaneers, to whom the Redskins suffered a 36–35 defeat earlier in the year. In the next round of the playoffs, however, the Redskins could not replicate their early-season victory over the Super Bowl-bound Seattle Seahawks, and lost to the eventual NFC Champion by the score of 20–10.
During the 2006 offseason, Gibbs hired Kansas City Chiefs' offensive coordinator Al Saunders to be associate head coach. Saunders came from a similar background as Gibbs, as both learned under Don Coryell. He took over for Gibbs as the team's primary play-caller upon joining the Redskins. This allowed Gibbs to focus more on his role as head coach and CEO and devote more time to personnel matters, defense, and special teams. Gibbs also added former Buffalo Bills defensive coordinator Jerry Gray to his staff as secondary/cornerbacks coach.
The Redskins finished 5–11 in 2006, the team's worst regular-season record under him. The following season the team suffered a tragedy when free safety Sean Taylor was shot in his home during a home robbery in November 2007 and died in the hospital a day later. However, the Redskins still qualified for the playoffs following the completion of a 9–7 regular season before being defeated by the NFC West division champions Seattle Seahawks in the first round. Gibbs retired as head coach and president in January 2008, citing family obligations. During Gibbs' four-year return to the Redskins, the team qualified for the playoffs twice, once more than it qualified for the playoffs during his 11-year absence. He was succeeded as head coach by Jim Zorn.
Head coaching record
Personal life
Gibbs currently resides in Charlotte, North Carolina, with his wife, the former Patricia Escobar. They had two sons, J. D. Gibbs and Coy Gibbs, and eight grandchildren. J. D. and his wife, Melissa, had four sons: Jackson, Miller, Jason, and Taylor. Coy Gibbs and wife Heather have three sons Ty, Case, Jet, and daughter Elle. In January 2007, Gibbs revealed that Taylor was diagnosed with leukemia, adding that his grandson had undergone surgery and received chemotherapy treatments. Gibbs is a devout Christian. His son J.D. died on January 11, 2019 after a long battle with neurological brain disease diagnosed in 2015.
Politics
On September 5, 2008, Gibbs addressed the 2008 Republican National Convention, during which he offered his support for John McCain and his hope that the McCain-Palin ticket would lead to a 'spiritual awakening' in the United States. Gibbs has long been open about his Christian faith, but notoriously reserved about articulating his political positions, because, as the old Washington joke goes, "The Redskins are the only thing that unites the town." As one of the most sought after A-List figures in Washington social circles for over a quarter-century (and even being referred to as "the most popular man in Washington" by the Washington Post), Gibbs admitted being uneasy addressing the convention, stating that it was "a little awkward to put on a partisan hat."
Awards and honors
NFL
Three-time Super Bowl champion (1982, 1987, 1991)
Two-time NFL Coach of the Year (1982, 1983)
NFL 100 All-Time Team
NASCAR
Five-time NASCAR Cup Series champion (as owner of Joe Gibbs Racing)
Two-time NASCAR Xfinity Series champion (as owner of Joe Gibbs Racing)
Halls of Fame
Pro Football Hall of Fame (class of 1996)
Washington Ring of Fame
NASCAR Hall of Fame inductee (class of 2020)
State/local
Coach Gibbs Drive - a street leading to Washington's practice facility in Ashburn, Virginia
Writing career
In 1992, Gibbs co-authored Joe Gibbs: Fourth and One, and in 2003, he co-authored Racing to Win. The books resemble a business and life how-to book and motivational guide as he discusses his successes and mistakes in his career, offering the lessons he learned as tips to the readers. In 2009, Gibbs wrote the book Game Plan for Life which discusses his life in football; how his religious faith can help others and outside of sports, as well as key topics that are important to people trying to lead a contemporary Christian lifestyle.
See also
List of National Football League head coaches with 50 wins
References
External links
Joe Gibbs Racing
1940 births
Living people
American football tight ends
American motivational writers
Arkansas Razorbacks football coaches
Atlanta Falcons owners
Cerritos Falcons football players
College football announcers
Florida State Seminoles football coaches
Motorcycle racing team owners
NASCAR team owners
National Football League announcers
San Diego Chargers coaches
San Diego State Aztecs football coaches
San Diego State Aztecs football players
St. Louis Cardinals (football) coaches
Tampa Bay Buccaneers coaches
USC Trojans football coaches
Washington Redskins head coaches
Pro Football Hall of Fame inductees
People from Buncombe County, North Carolina
Sportspeople from Los Angeles County, California
People from Loudoun County, Virginia
Players of American football from California
20th-century American non-fiction writers
21st-century American non-fiction writers
20th-century American male writers
Super Bowl-winning head coaches
People from Mocksville, North Carolina
American male non-fiction writers
21st-century American male writers
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"Neal T. \"Olky\" Olkewicz (born January 30, 1957) is a former American football linebacker in the National Football League (NFL) who played his entire 11-year career with the Washington Redskins from 1979 to 1989.\n\nEarly life\nOlkewicz was born in Phoenixville, Pennsylvania and attended Phoenixville High School, where he played football and baseball.\n\nCollege career\nOlkewicz played college football at the University of Maryland from 1975 to 1978. While at Maryland, Olkewicz played in four bowl games - the Gator Bowl, Cotton Bowl, the Hall of Fame Classic, and the Sun Bowl. In 1978, he led the Terrapins' defense by making 188 tackles, a school record that still remains intact.\n\nProfessional career\nOlkewicz signed with the Washington Redskins as a free agent in 1979. He won two Super Bowl Championships with victories over the Miami Dolphins (1982) and the Denver Broncos (1987). He was named the Redskins’ Defensive MVP in 1988. Olkewicz is one of only five players in NFL history to play in a Super Bowl on his birthday (Super Bowl XVII). He retired in 1989 following the Redskins victory over the Seattle Seahawks in the season finale. He played 150 games in his career and finished with six interceptions for 76 yards, one touchdown and 12 sacks.\n\nAfter football\nSince retirement, Olkewicz has owned a vending business in Rockville, Maryland called Olkewicz Vending serving the Washington metropolitan area. He was inducted into the Chester County Sports Hall of Fame in 2012 and the Pennsylvania Sports Hall of Fame in 2015. He is currently working as an aide at Pottsgrove High School in Pottstown, Pennsylvania.\n\nReferences\n\nExternal links\n \n Chester County Sports Hall of Fame profile\n\n1957 births\nLiving people\nWashington Redskins players\nMaryland Terrapins football players\nPeople from Phoenixville, Pennsylvania\nPlayers of American football from Pennsylvania\nSportspeople from Chester County, Pennsylvania",
"The Commanders–Eagles rivalry is a rivalry between the Washington Commanders, formerly known as the Redskins, and Philadelphia Eagles of the National Football League. The rivalry began in 1934, during the time the Redskins played in Boston.\n\nThe rivalry is one of the most heated rivalries in the NFL, and has featured some memorable moments in NFL history. The rivalry is most notable for the \"Body Bag Game\", where the Eagles injured nine Redskins players in a game in 1990.\n\nThe Commanders lead the all-time series 88–82–6. Washington has won five NFL championships including three Super Bowls, while the Eagles have won four NFL championships including one Super Bowl. The teams have met once in the playoffs, in which the Redskins avenged the Body Bag Game by defeating the Eagles 20–6 in the 1990 NFC Wild Card round.\n\nThe rivalry can be attributed to the close proximity of Philadelphia and Washington, D.C. It is mirrored by the National Hockey League rivalry between the Washington Capitals and Philadelphia Flyers.\n\nSeason-by-Season results \n\n|-\n| \n| style=\"| \n| style=\"| Redskins 14–7\n| style=\"| Redskins 6–0\n| Redskins 2–0\n| \n|-\n| \n| style=\"| \n| no game\n| style=\"| Eagles 7–6\n| Redskins 2–1\n| Marks the only time both teams have not met in two regular season meetings.\n|-\n| \n| style=\"| \n| style=\"| Redskins 26–3\n| style=\"| Redskins 17–7\n| Redskins 4–1\n| Redskins lose 1936 NFL Championship.\n|-\n| \n| Tie 1–1\n| style=\"| Redskins 10–7\n| style=\"| Eagles 14–0\n| Redskins 5–2\n| Redskins move from Boston to Washington, win 1937 NFL Championship.\n|-\n| \n| style=\"| \n| style=\"| Redskins 26–23\n| style=\"| Redskins 20–14\n| Redskins 7–2\n| \n|-\n| \n| style=\"| \n| style=\"| Redskins 7–0\n| style=\"| Redskins 7–6\n| Redskins 9–2\n|\n\n|-\n| \n| style=\"| \n| style=\"| Redskins 34–17\n| style=\"| Redskins 13–6\n| Redskins 11–2\n| Egles move to Connie Mack Stadium, Redskins lose 1940 NFL Championship.\n|-\n| \n| style=\"| \n| style=\"| Redskins 21–17\n| style=\"| Redskins 20–14\n| Redskins 13–2\n| \n|-\n| \n| style=\"| \n| style=\"| Redskins 14–10\n| style=\"| Redskins 30–27\n| Redskins 15–2\n| Redskins win 11 straight meetings (1937-42) and eight straight meetings in Philadelphia (1934-42). Redskins win 1942 NFL Championship.\n|-\n| \n| style=\"| \n| Tie 14–14\n| style=\"| \"Steagles\" 27–14\n| Redskins 15–3–1\n| Eagles and Pittsburgh Steelers merge for the 1943 season to become the \"Steagles,\" as both teams lost many players to military service during World War II. Redskins lose 1943 NFL Championship.\n|-\n| \n| style=\"| \n| Tie 31–31\n| style=\"| Eagles 37–7\n| Redskins 15–4–2\n| \n|-\n| \n| Tie 1–1\n| style=\"| Eagles 16–0\n| style=\"| Redskins 24–14\n| Redskins 16–5–2\n| Redskins lose 1945 NFL Championship.\n|-\n| \n| Tie 1–1\n| style=\"| Redskins 27–10\n| style=\"| Eagles 28–24\n| Redskins 17–6–2\n| \n|-\n| \n| style=\"| \n| style=\"| Eagles 45–42\n| style=\"| Eagles 38–14\n| Redskins 17–8–2\n| Eagles lose 1947 NFL Championship.\n|-\n| \n| style=\"| \n| style=\"| Eagles 45–0\n| style=\"| Eagles 42–21\n| Redskins 17–10–2\n| Eagles win 1948 NFL Championship.\n|-\n| \n| style=\"| \n| style=\"| Eagles 49–14\n| style=\"| Eagles 44–21\n| Redskins 17–12–2\n| Eagles win 1949 NFL Championship.\n|-\n\n|-\n| \n| style=\"| \n| style=\"| Eagles 35–3\n| style=\"| Eagles 33–0\n| Redskins 17–14–2\n| Eagles win eight straight meetings (1947–50).\n|-\n| \n| Tie 1–1\n| style=\"| Redskins 27–23\n| style=\"| Eagles 35–21\n| Redskins 18–15–2\n| \n|-\n| \n| Tie 1–1\n| style=\"| Eagles 38–20\n| style=\"| Redskins 27–21\n| Redskins 19–16–2\n| \n|-\n| \n| style=\"| \n|Tie 21–21\n| style=\"| Redskins 10–0\n| Redskins 20–16–3\n| \n|-\n| \n| style=\"| \n| style=\"| Eagles 41–33\n| style=\"| Eagles 49–21\n| Redskins 20–18–3\n| \n|-\n| \n| style=\"| \n| style=\"| Redskins 31–30\n| style=\"| Redskins 34–31\n| Redskins 22–18–3 \n| \n|-\n| \n| Tie 1–1\n| style=\"| Eagles 13–9\n| style=\"| Redskins 19–17\n| Redskins 23–19–3 \n| \n|-\n| \n| Tie 1–1\n| style=\"| Eagles 21–12\n| style=\"| Redskins 42–7\n| Redskins 24–20–3 \n| \n|-\n| \n| style=\"| \n| style=\"| Redskins 24–14\n| style=\"| Redskins 20–0\n| Redskins 26–20–3 \n| Eagles move to Franklin Field.\n|-\n| \n| style=\"| \n| style=\"| Eagles 30–23\n| style=\"| Eagles 34–14\n| Redskins 26–22–3\n| \n|-\n\n|-\n| \n| style=\"| \n| style=\"| Eagles 19–13\n| style=\"| Eagles 38–28\n| Redskins 26–24–3\n| Eagles win 1960 NFL Championship.\n|-\n| \n| style=\"| \n| style=\"| Eagles 14–7\n| style=\"| Eagles 27–24\n| Tie 26–26–3\n| Redskins open Robert F. Kennedy Memorial Stadium (then known as District of Columbia Stadium).\n|-\n| \n| Tie 1–1\n| style=\"| Redskins 27–21\n| style=\"| Eagles 37–14\n| Tie 27–27–3\n| \n|-\n| \n| Tie 1–1\n| style=\"| Redskins 13–10\n| style=\"| Eagles 37–24\n| Tie 28–28–3\n| By virtue of being the first meeting taking place in Washington head-to-head, Eagles take their only lead in series meetings to date.\n|-\n| \n| style=\"| \n| style=\"| Redskins 35–20\n| style=\"| Redskins 21–10\n| Redskins 30–28–3 \n| \n|-\n| \n| Tie 1–1\n| style=\"| Eagles 23–21\n| style=\"| Redskins 21–10\n| Redskins 31–29–3\n| \n|-\n| \n| Tie 1–1\n| style=\"| Redskins 27–13\n| style=\"| Eagles 37–28\n| Redskins 32–30–3\n| \n|-\n| \n| style=\"| \n| style=\"| Eagles 35–24\n| Tie 35–35\n| Redskins 32–31–4 \n| \n|-\n| \n| style=\"| \n| style=\"| Redskins 16–10\n| style=\"| Redskins 17–14\n| Redskins 34–31–4 \n| \n|-\n| \n| style=\"| \n| style=\"| Redskins 34–29\n| Tie 28–28\n| Redskins 35–31–5 \n| \n|-\n\n|-\n| \n| style=\"| \n| style=\"| Redskins 33–21\n| style=\"| Redskins 24–6\n| Redskins 37–31–5 \n| Both teams placed in the NFC East after AFL-NFL merger.\n|-\n| \n| style=\"| \n| style=\"| Redskins 20–13\n| Tie 7–7\n| Redskins 38–31–6 \n| Eagles open Veterans Stadium.\n|-\n| \n| style=\"| \n| style=\"| Redskins 23–7\n| style=\"| Redskins 14–0\n| Redskins 40–31–6 \n| Redskins lose Super Bowl VII.\n|-\n| \n| style=\"| \n| style=\"| Redskins 28–7\n| style=\"| Redskins 38–20\n| Redskins 42–31–6 \n| \n|-\n| \n| style=\"| \n| style=\"| Redskins 27–20\n| style=\"| Redskins 26–7\n| Redskins 44–31–6 \n| Redskins win seven straight meetings (1971–74) and post a 12–0–2 record in the series from 1968–74.\n|-\n| \n| style=\"| \n| style=\"| Eagles 26–10\n| style=\"| Eagles 26–3\n| Redskins 44–33–6 \n| \n|-\n| \n| style=\"| \n| style=\"| Redskins 20–17\n| style=\"| Redskins 24–0\n| Redskins 46–33–6 \n|\n|-\n| \n| style=\"| \n| style=\"| Redskins 17–14\n| style=\"| Redskins 23–17\n| Redskins 48–33–6 \n| \n|-\n| \n| Tie 1–1\n| style=\"| Eagles 17–10\n| style=\"| Redskins 35–30\n| Redskins 49–34–6\n| \n|-\n| \n| Tie 1–1\n| style=\"| Eagles 28–17\n| style=\"| Redskins 17–7\n| Redskins 50–35–6\n| \n|-\n\n|-\n| \n| style=\"| \n| style=\"| Eagles 24–14\n| style=\"| Eagles 24–0\n| Redskins 50–37–6\n| Eagles lose Super Bowl XV.\n|-\n| \n| Tie 1–1\n| style=\"| Eagles 36–13\n| style=\"| Redskins 15–13\n| Redskins 51–38–6\n|\n|-\n| \n| style=\"| \n| style=\"| Redskins 37–34\n| style=\"| Redskins 13–9\n| Redskins 53–38–6\n| Both games played despite players strike reducing the season to 9 games, Redskins win Super Bowl XVII.\n|-\n| \n| style=\"| \n| style=\"| Redskins 23–13\n| style=\"| Redskins 28–24\n| Redskins 55–38–6\n| Redskins lose Super Bowl XVIII.\n|-\n| \n| Tie 1–1\n| style=\"| Eagles 16–10\n| style=\"| Redskins 20–0\n| Redskins 56–39–6\n| \n|-\n| \n| Tie 1–1\n| style=\"| Redskins 17–12\n| style=\"| Eagles 19–6\n| Redskins 57–40–6\n| \n|-\n| \n| style=\"| \n| style=\"| Redskins 21–14\n| style=\"| Redskins 41–14\n| Redskins 59–40–6\n| \n|-\n| \n| Tie 1–1\n| style=\"| Eagles 31–27\n| style=\"| Redskins 34–24\n| Redskins 60–41–6\n| Redskins win Super Bowl XXII.\n|-\n| \n| style=\"| \n| style=\"| Redskins 20–19\n| style=\"| Redskins 17–10\n| Redskins 62–41–6\n| \n|-\n| \n| Tie 1–1\n| style=\"| Redskins 10–3\n| style=\"| Eagles 42–37\n| Redskins 63–42–6\n| \n|-\n\n|-\n| \n| Tie 1–1\n| style=\"| Eagles 31–27\n| style=\"| Redskins 34–24\n| Redskins 64–43–6\n| Game in Philadelphia became known as the \"Body Bag Game\" in which nine Redskins players left the game with injuries, and an Eagles player reacted to one of those injured Redskins by yelling, \"Do you guys need any more body bags?\"\n|- style=\"background:#f2f2f2; font-weight:bold;\"\n| 1990 Playoffs\n| style=\"| \n| style=\"| Redskins 20–6\n| \n| Redskins 65–43–6\n| NFC Wild Card playoffs. Only playoff meeting between the two teams.\n|-\n| \n| Tie 1–1\n| style=\"| Eagles 24–22\n| style=\"| Redskins 23–0\n| Redskins 66–44–6\n| Eagles hand the Redskins one of their two losses all season. Redskins win Super Bowl XXVI.\n|-\n| \n| Tie 1–1\n| style=\"| Eagles 17–13\n| style=\"| Redskins 16–12\n| Redskins 67–45–6\n| Eagles clinched playoff berth with their home win in Week 16 while the Redskins clinched in Week 17 with help.\n|-\n| \n| style=\"| \n| style=\"| Eagles 34–31\n| style=\"| Eagles 17–14\n| Redskins 67–47–6\n| \n|-\n| \n| style=\"| \n| style=\"| Eagles 21–17\n| style=\"| Eagles 31–29\n| Redskins 67–49–6\n| \n|-\n| \n| style=\"| \n| style=\"| Eagles 37–34(OT)\n| style=\"| Eagles 14–7\n| Redskins 67–51–6\n| \n|-\n| \n| Tie 1–1\n| style=\"| Redskins 26–21\n| style=\"| Eagles 17–14\n| Redskins 68–52–6\n| Eagles win eight straight meetings (1992–96).\n|-\n| \n| Tie 1–1\n| style=\"| Eagles 24–10\n| style=\"| Redskins 35–32\n| Redskins 69–53–6\n| Redskins open FedEx Field in Landover, Maryland (then known as Jack Kent Cooke Stadium).\n|-\n| \n| Tie 1–1\n| style=\"| Eagles 17–12\n| style=\"| Redskins 28–3\n| Redskins 70–54–6\n| \n|-\n| \n| Tie 1–1\n| style=\"| Eagles 38–35\n| style=\"| Redskins 20–17(OT)\n| Redskins 71–55–6\n| \n|-\n\n|-\n| \n| Tie 1–1\n| style=\"| Redskins 17–14\n| style=\"| Eagles 23–20\n| Redskins 72–56–6\n| \n|-\n| \n| Tie 1–1\n| style=\"| Redskins 13–3\n| style=\"| Eagles 20–6\n| Redskins 73–57–6\n| \n|-\n| \n| style=\"| \n| style=\"| Eagles 34–21\n| style=\"| Eagles 37–7\n| Redskins 73–59–6\n| \n|-\n| \n| style=\"| \n| style=\"| Eagles 27–25\n| style=\"| Eagles 31–7\n| Redskins 73–61–6\n| Eagles open Lincoln Financial Field. Eagles clinch NFC East and a bye in Landover in Week 17, and home-field advantage the next day.\n|-\n| \n| style=\"| \n| style=\"| Eagles 28–6\n| style=\"| Eagles 17–14\n| Redskins 73–63–6\n| Eagles win seven straight meetings (2001–04). Eagles lose Super Bowl XXXIX.\n|-\n| \n| style=\"| \n| style=\"| Redskins 31–20\n| style=\"| Redskins 17–10\n| Redskins 75–63–6\n| Redskins' first season sweep of Eagles since 1986. Redskins clinch playoff berth in Week 17 in Philadelphia.\n|-\n| \n| style=\"| \n| style=\"| Eagles 27–3\n| style=\"| Eagles 21–19\n| Redskins 75–65–6\n| Eagles win in Landover began the Eagles division sweep of all NFC East teams on the road across three consecutive weeks.\n|-\n| \n| Tie 1–1\n| style=\"| Redskins 20–12\n| style=\"| Eagles 33–25\n| Redskins 76–66–6\n| \n|-\n| \n| style=\"| \n| style=\"| Redskins 23–17\n| style=\"| Redskins 10–3\n| Redskins 78–66–6\n| \n|-\n| \n| style=\"| \n| style=\"| Eagles 27–24\n| style=\"| Eagles 27–17\n| Redskins 78–68–6\n| \n|-\n\n|-\n| \n| Tie 1–1\n| style=\"| Redskins 17–12\n| style=\"| Eagles 59–28\n| Redskins 79–69–6\n| Game in Philadelphia was Donovan McNabb's first trip back since leaving the Eagles. Eagles set record number of points scored by one team on Monday Night Football.\n|-\n| \n| style=\"| \n| style=\"| Eagles 34–10\n| style=\"| Eagles 20–13\n| Redskins 79–71–6\n| \n|-\n| \n| style=\"| \n| style=\"| Redskins 27–20\n| style=\"| Redskins 31–6\n| Redskins 81–71–6\n| \n|-\n| \n| style=\"| \n| style=\"| Eagles 24–16\n| style=\"| Eagles 33–27\n| Redskins 81–73–6\n| \n|-\n| \n| Tie 1–1\n| style=\"| Eagles 37–34\n| style=\"| Redskins 27–24\n| Redskins 82–74–6\n| Redskins' upset win eliminates the Eagles from playoff contention.\n|-\n| \n| style=\"| \n| style=\"| Redskins 38–24\n| style=\"| Redskins 23–20\n| Redskins 84–74–6\n| Redskins clinch NFC East with win in Philadelphia, and the Eagles fire Chip Kelly the day after.\n|-\n| \n| style=\"| \n| style=\"| Redskins 27–20\n| style=\"| Redskins 27–22\n| Redskins 86–74–6\n| \n|-\n| \n| style=\"| \n| style=\"| Eagles 34–24\n| style=\"| Eagles 30–17\n| Redskins 86–76–6\n| Eagles win Super Bowl LII.\n|-\n| \n| style=\"| \n| style=\"| Eagles 28–13\n| style=\"| Eagles 24–0\n| Redskins 86–78–6\n| Eagles clinched a wild card berth with a win in Landover and a Minnesota loss in Week 17.\n|-\n| \n| style=\"| \n| style=\"| Eagles 32–27\n| style=\"| Eagles 37–27\n| Redskins 86–80–6\n| Eagles overcome 17–0 deficit to win at home over Washington on opening day. Greg Ward's touchdown reception with under 30 seconds remaining sealed the Eagles completing the head-to-head sweep in Landover.\n|-\n\n|-\n| \n| style=\"| \n| style=\"| Washington 20–14\n| style=\"| Washington 27–17\n| Washington 88–80–6\n| Redskins adopt \"Washington Football Team\" as a temporary nickname. In a role reversal from 2019, Washington overcomes a 17–0 deficit to win on opening day at home. Washington clinched the NFC East in their win in Philadelphia in week 17.\n|-\n| \n| style=\"| \n| style=\"| Eagles 27–17\n| style=\"| Eagles 20–16\n| Washington 88–82–6\n| The game in Philadelphia was scheduled at 1:00 PM (ET) on Sunday, but moved to Tuesday at 7:00 PM (ET) due to COVID-19 outbreak among Washington. Eagles clinch playoff berth with their win in Washington while also eliminating Washington from playoff contention.\n|-\n| \n| \n| TBD \n| TBD\n| \n| Washington Football Team adopts the \"Commanders\" name.\n|- \n\n|-\n| Regular season\n| style=\"|Washington 88–82–6\n| Tie 42–42–3\n| Washington 45–40–3\n| \n|-\n| Postseason\n| style=\"|Washington 1–0\n| Washington 1–0\n| no games\n| 1990 NFC Wild Card playoffs\n|-\n| Regular and postseason \n| style=\"|Washington 88–82–6\n| Washington 43–42–3\n| Washington 45–40–3\n| \n|-\n\nReferences \n\nNational Football League rivalries\nWashington Commanders\nPhiladelphia Eagles"
] |
[
"Emilie Autumn",
"Influences and musical style"
] |
C_70107b3ed2834c31b68f02ba3926052b_0
|
Who were Emilie's main influences?
| 1 |
Who were Emilie Autumn's main influences?
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Emilie Autumn
|
Her music encompasses a wide range of styles. Autumn's vocal range is contralto, but also has the ability to perform in the dramatic soprano range. Her vocal work has been compared to Tori Amos, Kate Bush, and The Creatures. She has released two instrumental albums (On a Day... and Laced/Unlaced), and four featuring her vocals: Enchant, Opheliac, A Bit o' This & That, and "Fight Like A Girl". The 2003 album Enchant drew on "new age chamber music, trip hop baroque, and experimental space pop". Autumn layers her voice frequently, and incorporates electronics and electronic effects into her work on Enchant; she also combines strings and piano for some songs, while others feature mainly the piano or violin. The 2006 release Opheliac featured "cabaret, electronic, symphonic, new age, and good ol' rock & roll (and heavy on the theatrical bombast)". A classically trained musician, Autumn is influenced by plays, novels, and history, particularly the Victorian era. She enjoys the works of Shakespeare, Elizabeth Barrett Browning and her husband Robert, and Edgar Allan Poe. She incorporates sounds resembling Victorian machinery such as locomotives, which she noted was "sort of a steampunk thing". While a young Autumn cited Itzhak Perlman as an influence because of the happiness she believed he felt when he played, her main musical influence and inspiration is the English violinist Nigel Kennedy. Her favorite singer is Morrissey from The Smiths. She takes inspiration for her songs from her life experiences and mixes in "layers and layers of references, connections, other stories and metaphors". Autumn describes her music and style as "Psychotic Vaudeville Burlesque". She alternatively labels her music and style as "Victoriandustrial'", a term she coined, and glam rock because of her use of glitter onstage. According to Autumn, her music "wasn't meant to be cutesy" and is labeled as "industrial" mainly because of her use of drums and yelling. Her adaption of "O Mistress Mine" was praised by author and theater director Barry Edelstein as "a ravishing, guaranteed tearjerker". For her live performances, which she calls dinner theatre because of her practice of throwing tea and tea-time snacks offstage, Autumn makes use of burlesque--"a show that was mainly using humour and sexuality to make a mockery of things that were going on socially and politically"--to counterbalance the morbid topics such as abuse and self-mutilation. She incorporates handmade costumes, fire tricks, theatrics, and a female backing band, The Bloody Crumpets: Veronica Varlow, Jill Evyn (Moth), and formerly The Blessed Contessa, Lady Aprella, Little Lucina, Lady Joo Hee, Captain Vecona, Little Miss Sugarless, Mistress Jacinda, and the model Ulorin Vex. Another crumpet, Captain Maggot, has taken a leave. Her wish for the live shows is to be an "anti-repression statement" and empowerment. CANNOTANSWER
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Autumn is influenced by plays, novels, and history, particularly the Victorian era.
|
Emilie Autumn Liddell (born September 22, 1979), better known by her stage name Emilie Autumn, is an American singer-songwriter, poet, author and violinist. Autumn's musical style is described by her as "Fairy Pop", "Fantasy Rock" or "Victoriandustrial". It is influenced by glam rock and from plays, novels, and history, particularly the Victorian era. Performing with her all-female backup dancers The Bloody Crumpets, Autumn incorporates elements of classical music, cabaret, electronica, and glam rock with theatrics, and burlesque.
Growing up in Malibu, California, Autumn began learning the violin at the age of four and left regular school five years later with the goal of becoming a world-class violinist; she practiced eight or nine hours a day and read a wide range of literature. Progressing to writing her own music, she studied under various teachers and went to Indiana University, which she left over issues regarding the relationship between classical music and the appearance of the performer. Through her own independent label Traitor Records, Autumn debuted with her classical album On a Day: Music for Violin & Continuo, followed by the release in 2003 of her album Enchant.
Autumn appeared in singer Courtney Love's backing band on her 2004 America's Sweetheart tour and returned to Europe. She released the 2006 album Opheliac with the German label Trisol Music Group. In 2007, she released Laced/Unlaced; the re-release of On a Day... appeared as Laced with songs on the electric violin as Unlaced. She later left Trisol to join New York based The End Records in 2009 and release Opheliac in the United States, where previously it had only been available as an import. In 2012, she released the album Fight Like a Girl. She played the role of the Painted Doll in Darren Lynn Bousman's 2012 film The Devil's Carnival, as well as its 2015 sequel, Alleluia! The Devil's Carnival.
Life and career
1979–2000: Beginnings
Emilie Autumn was born in Los Angeles, California, on September 22, 1979. Autumn grew up in Malibu, California. She has stated that "being surrounded by nature and sea had a lot to do with [her] development as a 'free spirit.'" Her mother worked as a seamstress, and she has said that her father was a German immigrant with whom she did not share a close relationship. While not musicians, her family enjoyed various genres of music.
When Autumn was four years old, she started learning the violin, and later commented: "I remember asking for a violin, but I don't remember knowing what one was. I might have thought it was a kind of pony for all I know, but I don't remember being disappointed." Four years later, Autumn made her musical debut as a solo violinist performing with an orchestra, and won a competition. At the age of nine or ten, she left regular school with the goal of becoming a world-class violinist. On her time at the school, she remarked, "I hated it anyway, what with the status as 'weird,' 'antisocial,' and the physical threats, there seemed to be no reason to go anymore, so I just didn't." She practiced eight or nine hours a day, had lessons, read a wide range of literature, participated in orchestra practice, and was home-schooled. Growing up, she owned a large CD collection of "violin concertos, symphonies, chamber music, opera, and a little jazz". She began writing her own music and poetry at age thirteen or fourteen, though she never planned to sing any of her songs. She studied under various teachers and attended Indiana University in Bloomington, but left after two years there, because she disagreed with the prevailing views on individuality and classical music. She believed that neither the audience nor the original composer would be insulted by the clothing and appearance of the performer.
While convinced that she would only play violin, eighteen-year-old Autumn decided to sing on one of her songs as a way of demonstrating to a major music producer, who wanted to sign her on a label, how it should sound. She became unhappy with the changes done to her songs, and decided to break away from the label and create her own independent record label, Traitor Records. Through it, she debuted with her classical album On a Day: Music for Violin & Continuo, which she recorded in 1997 when she was seventeen years old; its title refers to the fact that the album took only a day to record. It consists of her performing works for the baroque violin accompanied by Roger Lebow on the baroque cello, Edward Murray on harpsichord, and Michael Egan on lute. She considered it "more of a demo despite its length", and released it as "a saleable album" after fans who enjoyed her "rock performances starting asking for a classical album so that they could hear more of the violin." She also debuted with her poetry book Across the Sky & Other Poems in 2000, later re-released in 2005 as Your Sugar Sits Untouched with a music-accompanied audiobook.
2001–04: Enchant and collaborations
As part of a recording project, Autumn traveled to Chicago, Illinois, in 2001, and decided to stay because she enjoyed the public transportation system and music scene there. She released the 2001 EP Chambermaid while finishing Enchant—she alternatively labeled the musical style on Chambermaid as "fantasy rock" and cabaret—and wrote the 2001 charity single "By the Sword" after the events of September 11, 2001. According to her, the song is about strength, not violence; the act of swearing by the sword represents "an unbreakable promise to right a wrong, to stay true".
On February 26, 2003, Autumn released her concept album Enchant, which spanned multiple musical styles: "new-age, pop and trip hop chamber music". Written during her late teenage years, Enchant revolved around the supernatural realm and its effect on the modern-day world. Autumn labeled it as "fantasy rock", which dealt with "dreams and stories and ghosts and faeries who'll bite your head off if you dare to touch them". The faery-themed "Enchant Puzzle" appeared on the artwork of the album; her reward for the person who would solve it consisted of faery-related items. Her bandmates consisted of cellist Joey Harvey, drummer Heath Jansen, guitarist Ben Lehl, and bassist Jimmy Vanaria, who also worked on the electronics. At the same time of Enchants release, Autumn had several side projects: Convent, a musical group for which she recorded all four voices; Ravensong, "a classical baroque ensemble" that she formed with friends in California; and The Jane Brooks Project, which she dedicated to the real-life, 16th-century Jane Brooks—a woman executed for witchcraft.
On the night of the Enchant release party, Autumn learned that Courtney Love had invited her to record an album, America's Sweetheart, and embark on the tour to promote it. Contributing violin and vocals, Autumn appeared in Love's backing band The Chelsea— along with Radio Sloan, Dvin Kirakosian, Samantha Maloney, and Lisa Leveridge—on the 2004 tour. Much of Autumn's violin work was ultimately not released on the album; she commented: "This had to do entirely with new producers taking over the project after our little vacation in France, and carefully discarding all of our sessions." She performed live with Love and The Chelsea on Late Show with David Letterman on March 17, 2004, and at Bowery Ballroom the next day. In September 2004, her father died from lung cancer, even though he had quit smoking twenty years earlier. Near the end of 2004, she was filmed for an appearance on an episode of HGTV's Crafters Coast to Coast, showing viewers how to create faery wings and sushi-styled soap—both products she sold in her online "web design and couture fashion house", WillowTech House. On December 23, 2004, she appeared on the Chicago-based television station WGN as part of the string quartet backing up Billy Corgan and Dennis DeYoung's duet of "We Three Kings".
2005–09: Opheliac, Laced/Unlaced, and A Bit o' This & That
Autumn began work on her concept album Opheliac in August 2004, and recorded it at Mad Villain Studios in Chicago. In August 2005, she created the costumes for Corgan's music video for the track "Walking Shade"; she also contributed violin and vocals for the track "DIA" from his 2005 album TheFutureEmbrace. In late 2005, Autumn also recorded vocals and violin for "The Gates of Eternity" from Attrition's 2008 album All Mine Enemys Whispers: The Story of Mary Ann Cotton, a concept album focusing on the Victorian serial killer Mary Ann Cotton. Autumn later protested the release of the song, claiming that it was unfinished, "altered without her permission", and had been intended only as a possible collaboration with Martin Bowes.
In January 2006, Autumn performed a song from the album, "Misery Loves Company", on WGN, before the album's release by the German label Trisol Music Group in September. She released the limited-edition, preview EP Opheliac through her own label, Traitor Records, in spring 2006; while the Opheliac EPs were being shipped, Autumn claimed that her offices had been robbed, causing the delay in the album release and the shipping of the EPs. According to her, Opheliac "was the documentation of a completely life-changing and life-ending experience". At one time, Autumn did have plans to film a music video for her song "Liar", which included "bloody bathtubs". Her song "Opheliac" later appeared on the 2007 albums 13th Street: The Sound of Mystery, Vol. 3, published by ZYX Music, and Fuck the Mainstream, Vol. 1, published by Alfa Matrix on June 19. On October 9, 2006, she appeared on the Adult Swim cartoon Metalocalypse as a guest artist and on the subsequent 2007 album The Dethalbum. November 2006 saw the release of the EP Liar/Dead Is the New Alive, which featured remixes of songs from Opheliac and new material.
Autumn released her instrumental album, Laced/Unlaced in March 2007; it consisted of two discs: Laced, the re-release of On a Day..., and Unlaced, new songs for the electric violin. She decided to re-release On a Day as Laced because she "felt that it made a nice contrast to the metal shredding fiddle album, "Unlaced", and [...] loved that it was the perfect representation of "then" versus "now". She also performed live at the German musical events Wave Gotik Treffen and M'era Luna Festival in 2007. She later released A Bit o' This & That: a rarities album of her covers, including songs from The Beatles and The Smiths, classical pieces, and her own songs. In 2008, she released the EP 4 o'Clock, which contained remixes of songs from Opheliac, new songs, and a reading from her autobiographical novel The Asylum for Wayward Victorian Girls. She also released another EP, Girls Just Wanna Have Fun &Bohemian Rhapsody, the same year. A year later, Autumn broke away from Trisol Music Group to join The End Records and re-release Opheliac in the United States on October 27, 2009; previously, it was only available there as an import. The re-release included extras such as pictures, bonus tracks, an excerpt from The Asylum for Wayward Victorian Girls, and a video.
In addition to releasing her own material, Autumn collaborated with other musicians. She contributed backing vocals and violin to the track "Dry" by Die Warzau and made an appearance in the band's music video for "Born Again". She played violin on the song "UR A WMN NOW" from OTEP's 2009 album, Smash the Control Machine. Additionally, two of her tracks appeared in film soundtracks: "Organ Grinder" from 4 o'Clock on the European edition of Saw III and a remixed version of "Dead Is The New Alive" from Opheliac on the international version of Saw IV.
2010–present: The Asylum for Wayward Victorian Girls and Fight Like a Girl
Autumn's debut novel, The Asylum for Wayward Victorian Girls, was self-published in late 2009, with a second edition following in 2010. Because of the book's nature and possible autobiographical sections, she claimed its release was delayed because some did not want it published. The book combines Autumn's own real life journal entries, including those chronicling her time in a psych ward, and the diary of a fictional Victorian-era asylum inmate named "Emily". Autumn has said that the intent of the book was to show "there’s very little difference from asylums for ladies in 1841 and the ones for us now," and that the subject of mental illness remains misunderstood.
In June 2010, Autumn released the acronym of her upcoming album, F.L.A.G., on her Twitter account, before revealing the full title as Fight Like a Girl. In her words, the meaning behind the title is "about taking all these things that make women the underdogs and using them to your advantage". Based on her novel, The Asylum for Wayward Victorian Girls, the album has been described as "an operatic feminist treatise set inside an insane asylum, wherein the female inmates gradually realize their own strength in numbers". On August 30, 2010, she announced that she would be undergoing jaw surgery, and had to postpone her North American tour dates while she recovered. In September 2011, she posted the full lyrics to the album's title track, "Fight Like a Girl", on her Twitter account. Autumn appeared at the 2011 Harvest Festival in Australia, and had planned to debut two songs from Fight Like a Girl during those performances. On April 11, 2012, Autumn released the single "Fight Like a Girl", with the song "Time for Tea" appearing as a B-side.
On April 16, 2012, Autumn announced her plans to debut a three-hour musical adaptation of her autobiographical novel on London's West End theatre in 2014. According to her interview with Mulatschag, she has plans to play the roles of both protagonists, Emilie and Emily.
In late 2011, a twelve-minute teaser was released for Darren Lynn Bousman and Terrance Zdunich's project The Devil's Carnival, featuring Autumn as The Painted Doll, her first major acting role. The film was released in April 2012. "Bloody Crumpets" members Beth "The Blessed Contessa" Hinderliter and Maggie "Captain Maggot" Lally also appear in the film as Woe-Maidens.
On June 13, 2012, Autumn announced on her blog the release date of Fight Like a Girl, which was on July 24 of the same year.
In 2013, Autumn produced and starred in her first ever music video, directed by Darren Lynn Bousman, for the song "Fight Like a Girl". Also appearing in the video are Autumn's Devil's Carnival co-stars Dayton Callie and Marc Senter, as well as Veronica Varlow, among others.
In 2014, it was announced that Autumn would be appearing at a handful of dates on the 2014 Vans Warped Tour with an installation called "The Asylum Experience", which will include music, burlesque, circus sideshow attractions and theater.
On September 22, 2018, she released The Asylum for Wayward Victorian Girls: Behind the Musical, an album with songs made for her upcoming musical.
On November 3, 2021, Autumn released the single The Passenger, a cover of the song by Iggy Pop, marking her first official release in three years.
Influences and musical style
Her music encompasses a wide range of styles. Autumn's vocal range is contralto, but also has the ability to perform in the dramatic soprano range. Her vocal work has been compared to Tori Amos, Kate Bush, and The Creatures. She has released two instrumental albums (On a Day... and Laced/Unlaced), and four featuring her vocals: Enchant, Opheliac, A Bit o' This & That, and "Fight Like a Girl". The 2003 album Enchant drew on "new age chamber music, trip hop baroque, and experimental space pop". Autumn layers her voice frequently, and incorporates electronics and electronic effects into her work on Enchant; she also combines strings and piano for some songs, while others feature mainly the piano or violin. The 2006 release Opheliac featured "cabaret, electronic, symphonic, new age, and good ol' rock & roll (and heavy on the theatrical bombast)".
A classically trained musician, Autumn is influenced by plays, novels, and history, particularly the Victorian era. She enjoys the works of Shakespeare, Elizabeth Barrett Browning and husband Robert, and Edgar Allan Poe. She incorporates sounds resembling Victorian machinery such as locomotives, which she noted was "sort of a steampunk thing". While a young Autumn cited Itzhak Perlman as an influence because of the happiness she believed he felt when he played, her main musical influence and inspiration is the English violinist Nigel Kennedy. Her favorite singer is Morrissey from The Smiths. She takes inspiration for her songs from her life experiences and mixes in "layers and layers of references, connections, other stories and metaphors". Autumn has variously described her music and style as "Psychotic Vaudeville Burlesque", "Victoriandustrial'", a term she coined, and glam rock because of her use of glitter onstage. According to Autumn, her music "wasn't meant to be cutesy" and is labeled as "industrial" mainly because of her use of drums and yelling. Her adaption of "O Mistress Mine" was praised by author and theater director
Barry Edelstein as "a ravishing, guaranteed tearjerker".
For her live performances, which she calls dinner theatre because of her practice of throwing tea and tea-time snacks off of the stage, Autumn makes use of burlesque—"a show that was mainly using humour and sexuality to make a mockery of things that were going on socially and politically"—to counterbalance the more morbid topics discussed in her music, such as abuse, suicide and self-mutilation. Her shows feature handmade costumes, fire tricks, theatrics, and her all-female backing band, The Bloody Crumpets, a group whose members have variously included burlesque performer Veronica Varlow as The Naughty Veronica, performance artist Maggie Lally as Captain Maggot, Jill Evyn as Lady Amalthea (or Moth), actress and performer Beth Hinderliter as The Blessed Contessa, actress Aprella Godfrey Barule as Lady Aprella, German musician Lucina as Little Lucina, cellist Sarah Kim as Lady Joo Hee, German costume designer Vecona as Captain Vecona, Jesselynn Desmond as Little Miss Sugarless, and Ulorin Vex. Her intention is for the live shows to be a statement of "anti-repression" and empowerment.
Personal life
She keeps a ritual of drawing a heart on her cheek as a symbol of protection.
Autumn became vegetarian at age eleven after being unable to rationalize why she should eat farm animals but not her pet dog; in her late-teens, she became vegan. She has stated she believes that there is a link between the treatment of women and animals in society. In August 2014, Autumn said she had developed copper toxicity and was no longer vegan, although still a committed vegetarian.
In 2021, Autumn adopted a Toy Manchester Terrier, who she named Darjeeling.
She has endorsed companies such as Manic Panic and Samson Tech.
Autumn has bipolar disorder, which she has discussed in a number of interviews.
Discography
Studio albums
Enchant (2003)
Opheliac (2006)
Fight Like a Girl (2012)
The Asylum for Wayward Victorian Girls: Behind the Musical (2018)
Instrumental albums
On a Day... (2000)
Laced/Unlaced (2007)
Concert tours
The Asylum Tour - 2007
The Plague Tour - 2008
The Gate Tour - 2008-2009
The Key Tour - 2009
The Door Tour - 2011
The Fight Like a Girl Tour - 2011-2012
Bibliography
Across the Sky & Other Poems (2000)
Your Sugar Sits Untouched (2005)
The Asylum for Wayward Victorian Girls (2009)
Filmography
11-11-11 as 11'er in Video (2011) Uncredited
The Devil's Carnival (2012) as Painted Doll
Alleluia! The Devil's Carnival as June / The Painted Doll
Notes
References
External links
Emilie Autumn MetalBlast.net interview, April 17, 2012.
Interview with Emilie Autumn
1979 births
21st-century American poets
21st-century American singers
American contraltos
American electronic musicians
American feminists
American harpsichordists
American industrial musicians
American people of German descent
American rock violinists
American women poets
Dark cabaret musicians
Women rock singers
Feminist musicians
Living people
Metropolis Records artists
Singers from California
Singers from Chicago
People with bipolar disorder
American women in electronic music
Writers from California
Writers from Illinois
21st-century American women singers
Electric violinists
21st-century violinists
Women harpsichordists
Steampunk music
Women in punk
| true |
[
"Émilie () is a French feminine given name. Spelled Emilie, it is used internationally.\n\nPeople named Émilie\nÉmilie Bigottini (1784–1858), French dancer of Italian ancestry\nÉmilie Bonnivard (born 1980), French politician\nÉmilie Marie Bouchaud aka Polaire (1874–1939), French singer and actress\nÉmilie Charmy (1878–1974), artist in France's early avant-garde\nÉmilie Deleuze (born 1964), French film director and screenwriter\nÉmilie Dequenne (born 1981), Belgian actress\nÉmilie Dionne, quintuplet\nÉmilie du Châtelet (1706–1749), French mathematician, physicist and author\nÉmilie Fer (born 1983), French slalom canoeist\nÉmilie Gamelin (1800–1851), Canadian social worker and Roman Catholic nun\nÉmilie Gomis (born 1983), French -Senegalese professional basketball player\nÉmilie Heymans (born 1981), Canadian diver\nÉmilie Le Pennec (born 1987), French gymnast\nÉmilie Loit (born 1979), retired French professional female tennis player\nÉmilie Mondor (1981–2006), Canadian Olympic athlete\nÉmilie Simon (born 1978), singer and composer of electronic music\nÉmilie Louise Marie Françoise Joséphine Pellapra (1806–1871), possibly an illegitimate daughter of Napoleon I by Françoise-Marie LeRoy\nÉmilie Vina (born 1982), French cross-country skier\nMarie Émilie Thérèse de Joly de Choin (1670–1732), the morganatic spouse of Louis, Dauphin of France\n\nPeople named Emilie\n Emilie Autumn, American musician\n Emilie Bergbom, theatre director\n Emilie da Fonseca, opera singer\n Emilie de Ravin (born 1981), Australian actress\n Emilie Virginia Haynsworth (1916–1985), American mathematician\n Emilie Haavi, Norwegian footballer\n Emilie Hammarskjöld (1821–1854), composer\n Emilie Högquist (1812–1846), actor\n Emilie Mechelin, Finnish opera singer\n Emilie Rathou, temperance and feminist activist\n Emilie Risberg, Swedish novelist and educator\n Emilie Rosing (1783–1811), chorist, stage artist\n Emilie Schindler (1907–2002), humanitarian\n\nSee also\nEmily (given name)\nÉmilie (opera), opera by Finnish composer Kaija Saariaho\nEmilie (steamboat)\n\nFrench feminine given names",
"Emilie Tolnay (born Emilie Müller: 6 October 1901 - 5 July 1944) was an Austrian hairdresser who by the time of the German annexation in 1938 had become a resistance activist. She died on the guillotine in the Vienna district court complex.\n\nBiography\nEmilie Müller was born at Iglau (since 1945 known as Jihlava), a mining town on the historical border between Moravia and Bohemia. She completed her compulsory schooling and, in 1916, embarked on the first of a succession of unskilled jobs in industry. In 1922 she trained and qualified as a hairdresser, working in the profession till 1926. That was the year in which she married the bakery assistant Anton Tolnay (1893-?).\n\nParliamentary democracy in the recently much diminished state of Austria was widely associated with military defeat and acute economic austerity. It was not universally popular. In March 1933 the so-called Self-elimination of the Austrian Parliament effectively marked a major step towards an Austrian adaptation of Italian Fascism. Among the politically engaged it was the socialists and communists who were most active in opposing the cancellation of democracy in Austria. During 1936 Anton and Emilie Tolnay were arrested by the government authorities on suspicion of having been politically active on behalf of the (by this time illegal) Communist Party. They were released after four months in detention.\n\nIn March 1938 Austria became part of an enlarged Germany following an annexation which progressed without much effective opposition from the Austrian political establishment. On 14 July 1942 Anton and Emilie Tolnay were arrested again. Most of the surviving evidence on their political activism comes from the indictment presented on 22 December 1943 by the Chief Prosecutor, when the Tolnays faced trial at the Vienna branch of the special People's Court. They had \"participated in the reorganisation of the illegal [anti-government] resistance struggle during 1941 and 1942\". They had provided support for the wanted Communist official, Adolf Neustadtl, \"and enabled Neustadtl to regain physical strength\" (by supplying him with food). The prosecutor made clear the assessment that Anton Tolnay was strongly influenced by his \"mentally far superior\" wife. The case was also made that Emilie Tolnay had successfully recruited Rosalia and Johann Graf to work with the illegal \"Communist Opposition\".\n\nOn 14 April 1944 the People's Court sentenced Emilie Tolnay to death. Comrade activists who received the same sentence included Therese Dworak, Rosalia Graf and Johann Graf. The charge on which they were convicted was the usual one of \"preparing to commit high treason and favouring the enemy\" (\"Vorbereitung zum Hochverrat und Feindbegünstigung\"). Anton Tolnay received a ten-year jail term (but was released a year later when the régime collapsed). On 5 July 1944 Emilie Tolnay was executed on the guillotine which had been moved into the Vienna district court complex in 1938, shortly after the German take-over.\n\nReferences\n\nPeople from Jihlava\nPeople from Vienna\n1901 births\n1944 deaths\nAustrian resistance members\nPeople condemned by Nazi courts\nPeople executed by Nazi Germany by guillotine\nAustrian hairdressers"
] |
[
"Emilie Autumn",
"Influences and musical style",
"Who were Emilie's main influences?",
"Autumn is influenced by plays, novels, and history, particularly the Victorian era."
] |
C_70107b3ed2834c31b68f02ba3926052b_0
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What was her musical style?
| 2 |
What was Emilie Autumn's musical style?
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Emilie Autumn
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Her music encompasses a wide range of styles. Autumn's vocal range is contralto, but also has the ability to perform in the dramatic soprano range. Her vocal work has been compared to Tori Amos, Kate Bush, and The Creatures. She has released two instrumental albums (On a Day... and Laced/Unlaced), and four featuring her vocals: Enchant, Opheliac, A Bit o' This & That, and "Fight Like A Girl". The 2003 album Enchant drew on "new age chamber music, trip hop baroque, and experimental space pop". Autumn layers her voice frequently, and incorporates electronics and electronic effects into her work on Enchant; she also combines strings and piano for some songs, while others feature mainly the piano or violin. The 2006 release Opheliac featured "cabaret, electronic, symphonic, new age, and good ol' rock & roll (and heavy on the theatrical bombast)". A classically trained musician, Autumn is influenced by plays, novels, and history, particularly the Victorian era. She enjoys the works of Shakespeare, Elizabeth Barrett Browning and her husband Robert, and Edgar Allan Poe. She incorporates sounds resembling Victorian machinery such as locomotives, which she noted was "sort of a steampunk thing". While a young Autumn cited Itzhak Perlman as an influence because of the happiness she believed he felt when he played, her main musical influence and inspiration is the English violinist Nigel Kennedy. Her favorite singer is Morrissey from The Smiths. She takes inspiration for her songs from her life experiences and mixes in "layers and layers of references, connections, other stories and metaphors". Autumn describes her music and style as "Psychotic Vaudeville Burlesque". She alternatively labels her music and style as "Victoriandustrial'", a term she coined, and glam rock because of her use of glitter onstage. According to Autumn, her music "wasn't meant to be cutesy" and is labeled as "industrial" mainly because of her use of drums and yelling. Her adaption of "O Mistress Mine" was praised by author and theater director Barry Edelstein as "a ravishing, guaranteed tearjerker". For her live performances, which she calls dinner theatre because of her practice of throwing tea and tea-time snacks offstage, Autumn makes use of burlesque--"a show that was mainly using humour and sexuality to make a mockery of things that were going on socially and politically"--to counterbalance the morbid topics such as abuse and self-mutilation. She incorporates handmade costumes, fire tricks, theatrics, and a female backing band, The Bloody Crumpets: Veronica Varlow, Jill Evyn (Moth), and formerly The Blessed Contessa, Lady Aprella, Little Lucina, Lady Joo Hee, Captain Vecona, Little Miss Sugarless, Mistress Jacinda, and the model Ulorin Vex. Another crumpet, Captain Maggot, has taken a leave. Her wish for the live shows is to be an "anti-repression statement" and empowerment. CANNOTANSWER
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Autumn's vocal range is contralto, but also has the ability to perform in the dramatic soprano range. Her vocal work has been compared to Tori Amos, Kate Bush,
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Emilie Autumn Liddell (born September 22, 1979), better known by her stage name Emilie Autumn, is an American singer-songwriter, poet, author and violinist. Autumn's musical style is described by her as "Fairy Pop", "Fantasy Rock" or "Victoriandustrial". It is influenced by glam rock and from plays, novels, and history, particularly the Victorian era. Performing with her all-female backup dancers The Bloody Crumpets, Autumn incorporates elements of classical music, cabaret, electronica, and glam rock with theatrics, and burlesque.
Growing up in Malibu, California, Autumn began learning the violin at the age of four and left regular school five years later with the goal of becoming a world-class violinist; she practiced eight or nine hours a day and read a wide range of literature. Progressing to writing her own music, she studied under various teachers and went to Indiana University, which she left over issues regarding the relationship between classical music and the appearance of the performer. Through her own independent label Traitor Records, Autumn debuted with her classical album On a Day: Music for Violin & Continuo, followed by the release in 2003 of her album Enchant.
Autumn appeared in singer Courtney Love's backing band on her 2004 America's Sweetheart tour and returned to Europe. She released the 2006 album Opheliac with the German label Trisol Music Group. In 2007, she released Laced/Unlaced; the re-release of On a Day... appeared as Laced with songs on the electric violin as Unlaced. She later left Trisol to join New York based The End Records in 2009 and release Opheliac in the United States, where previously it had only been available as an import. In 2012, she released the album Fight Like a Girl. She played the role of the Painted Doll in Darren Lynn Bousman's 2012 film The Devil's Carnival, as well as its 2015 sequel, Alleluia! The Devil's Carnival.
Life and career
1979–2000: Beginnings
Emilie Autumn was born in Los Angeles, California, on September 22, 1979. Autumn grew up in Malibu, California. She has stated that "being surrounded by nature and sea had a lot to do with [her] development as a 'free spirit.'" Her mother worked as a seamstress, and she has said that her father was a German immigrant with whom she did not share a close relationship. While not musicians, her family enjoyed various genres of music.
When Autumn was four years old, she started learning the violin, and later commented: "I remember asking for a violin, but I don't remember knowing what one was. I might have thought it was a kind of pony for all I know, but I don't remember being disappointed." Four years later, Autumn made her musical debut as a solo violinist performing with an orchestra, and won a competition. At the age of nine or ten, she left regular school with the goal of becoming a world-class violinist. On her time at the school, she remarked, "I hated it anyway, what with the status as 'weird,' 'antisocial,' and the physical threats, there seemed to be no reason to go anymore, so I just didn't." She practiced eight or nine hours a day, had lessons, read a wide range of literature, participated in orchestra practice, and was home-schooled. Growing up, she owned a large CD collection of "violin concertos, symphonies, chamber music, opera, and a little jazz". She began writing her own music and poetry at age thirteen or fourteen, though she never planned to sing any of her songs. She studied under various teachers and attended Indiana University in Bloomington, but left after two years there, because she disagreed with the prevailing views on individuality and classical music. She believed that neither the audience nor the original composer would be insulted by the clothing and appearance of the performer.
While convinced that she would only play violin, eighteen-year-old Autumn decided to sing on one of her songs as a way of demonstrating to a major music producer, who wanted to sign her on a label, how it should sound. She became unhappy with the changes done to her songs, and decided to break away from the label and create her own independent record label, Traitor Records. Through it, she debuted with her classical album On a Day: Music for Violin & Continuo, which she recorded in 1997 when she was seventeen years old; its title refers to the fact that the album took only a day to record. It consists of her performing works for the baroque violin accompanied by Roger Lebow on the baroque cello, Edward Murray on harpsichord, and Michael Egan on lute. She considered it "more of a demo despite its length", and released it as "a saleable album" after fans who enjoyed her "rock performances starting asking for a classical album so that they could hear more of the violin." She also debuted with her poetry book Across the Sky & Other Poems in 2000, later re-released in 2005 as Your Sugar Sits Untouched with a music-accompanied audiobook.
2001–04: Enchant and collaborations
As part of a recording project, Autumn traveled to Chicago, Illinois, in 2001, and decided to stay because she enjoyed the public transportation system and music scene there. She released the 2001 EP Chambermaid while finishing Enchant—she alternatively labeled the musical style on Chambermaid as "fantasy rock" and cabaret—and wrote the 2001 charity single "By the Sword" after the events of September 11, 2001. According to her, the song is about strength, not violence; the act of swearing by the sword represents "an unbreakable promise to right a wrong, to stay true".
On February 26, 2003, Autumn released her concept album Enchant, which spanned multiple musical styles: "new-age, pop and trip hop chamber music". Written during her late teenage years, Enchant revolved around the supernatural realm and its effect on the modern-day world. Autumn labeled it as "fantasy rock", which dealt with "dreams and stories and ghosts and faeries who'll bite your head off if you dare to touch them". The faery-themed "Enchant Puzzle" appeared on the artwork of the album; her reward for the person who would solve it consisted of faery-related items. Her bandmates consisted of cellist Joey Harvey, drummer Heath Jansen, guitarist Ben Lehl, and bassist Jimmy Vanaria, who also worked on the electronics. At the same time of Enchants release, Autumn had several side projects: Convent, a musical group for which she recorded all four voices; Ravensong, "a classical baroque ensemble" that she formed with friends in California; and The Jane Brooks Project, which she dedicated to the real-life, 16th-century Jane Brooks—a woman executed for witchcraft.
On the night of the Enchant release party, Autumn learned that Courtney Love had invited her to record an album, America's Sweetheart, and embark on the tour to promote it. Contributing violin and vocals, Autumn appeared in Love's backing band The Chelsea— along with Radio Sloan, Dvin Kirakosian, Samantha Maloney, and Lisa Leveridge—on the 2004 tour. Much of Autumn's violin work was ultimately not released on the album; she commented: "This had to do entirely with new producers taking over the project after our little vacation in France, and carefully discarding all of our sessions." She performed live with Love and The Chelsea on Late Show with David Letterman on March 17, 2004, and at Bowery Ballroom the next day. In September 2004, her father died from lung cancer, even though he had quit smoking twenty years earlier. Near the end of 2004, she was filmed for an appearance on an episode of HGTV's Crafters Coast to Coast, showing viewers how to create faery wings and sushi-styled soap—both products she sold in her online "web design and couture fashion house", WillowTech House. On December 23, 2004, she appeared on the Chicago-based television station WGN as part of the string quartet backing up Billy Corgan and Dennis DeYoung's duet of "We Three Kings".
2005–09: Opheliac, Laced/Unlaced, and A Bit o' This & That
Autumn began work on her concept album Opheliac in August 2004, and recorded it at Mad Villain Studios in Chicago. In August 2005, she created the costumes for Corgan's music video for the track "Walking Shade"; she also contributed violin and vocals for the track "DIA" from his 2005 album TheFutureEmbrace. In late 2005, Autumn also recorded vocals and violin for "The Gates of Eternity" from Attrition's 2008 album All Mine Enemys Whispers: The Story of Mary Ann Cotton, a concept album focusing on the Victorian serial killer Mary Ann Cotton. Autumn later protested the release of the song, claiming that it was unfinished, "altered without her permission", and had been intended only as a possible collaboration with Martin Bowes.
In January 2006, Autumn performed a song from the album, "Misery Loves Company", on WGN, before the album's release by the German label Trisol Music Group in September. She released the limited-edition, preview EP Opheliac through her own label, Traitor Records, in spring 2006; while the Opheliac EPs were being shipped, Autumn claimed that her offices had been robbed, causing the delay in the album release and the shipping of the EPs. According to her, Opheliac "was the documentation of a completely life-changing and life-ending experience". At one time, Autumn did have plans to film a music video for her song "Liar", which included "bloody bathtubs". Her song "Opheliac" later appeared on the 2007 albums 13th Street: The Sound of Mystery, Vol. 3, published by ZYX Music, and Fuck the Mainstream, Vol. 1, published by Alfa Matrix on June 19. On October 9, 2006, she appeared on the Adult Swim cartoon Metalocalypse as a guest artist and on the subsequent 2007 album The Dethalbum. November 2006 saw the release of the EP Liar/Dead Is the New Alive, which featured remixes of songs from Opheliac and new material.
Autumn released her instrumental album, Laced/Unlaced in March 2007; it consisted of two discs: Laced, the re-release of On a Day..., and Unlaced, new songs for the electric violin. She decided to re-release On a Day as Laced because she "felt that it made a nice contrast to the metal shredding fiddle album, "Unlaced", and [...] loved that it was the perfect representation of "then" versus "now". She also performed live at the German musical events Wave Gotik Treffen and M'era Luna Festival in 2007. She later released A Bit o' This & That: a rarities album of her covers, including songs from The Beatles and The Smiths, classical pieces, and her own songs. In 2008, she released the EP 4 o'Clock, which contained remixes of songs from Opheliac, new songs, and a reading from her autobiographical novel The Asylum for Wayward Victorian Girls. She also released another EP, Girls Just Wanna Have Fun &Bohemian Rhapsody, the same year. A year later, Autumn broke away from Trisol Music Group to join The End Records and re-release Opheliac in the United States on October 27, 2009; previously, it was only available there as an import. The re-release included extras such as pictures, bonus tracks, an excerpt from The Asylum for Wayward Victorian Girls, and a video.
In addition to releasing her own material, Autumn collaborated with other musicians. She contributed backing vocals and violin to the track "Dry" by Die Warzau and made an appearance in the band's music video for "Born Again". She played violin on the song "UR A WMN NOW" from OTEP's 2009 album, Smash the Control Machine. Additionally, two of her tracks appeared in film soundtracks: "Organ Grinder" from 4 o'Clock on the European edition of Saw III and a remixed version of "Dead Is The New Alive" from Opheliac on the international version of Saw IV.
2010–present: The Asylum for Wayward Victorian Girls and Fight Like a Girl
Autumn's debut novel, The Asylum for Wayward Victorian Girls, was self-published in late 2009, with a second edition following in 2010. Because of the book's nature and possible autobiographical sections, she claimed its release was delayed because some did not want it published. The book combines Autumn's own real life journal entries, including those chronicling her time in a psych ward, and the diary of a fictional Victorian-era asylum inmate named "Emily". Autumn has said that the intent of the book was to show "there’s very little difference from asylums for ladies in 1841 and the ones for us now," and that the subject of mental illness remains misunderstood.
In June 2010, Autumn released the acronym of her upcoming album, F.L.A.G., on her Twitter account, before revealing the full title as Fight Like a Girl. In her words, the meaning behind the title is "about taking all these things that make women the underdogs and using them to your advantage". Based on her novel, The Asylum for Wayward Victorian Girls, the album has been described as "an operatic feminist treatise set inside an insane asylum, wherein the female inmates gradually realize their own strength in numbers". On August 30, 2010, she announced that she would be undergoing jaw surgery, and had to postpone her North American tour dates while she recovered. In September 2011, she posted the full lyrics to the album's title track, "Fight Like a Girl", on her Twitter account. Autumn appeared at the 2011 Harvest Festival in Australia, and had planned to debut two songs from Fight Like a Girl during those performances. On April 11, 2012, Autumn released the single "Fight Like a Girl", with the song "Time for Tea" appearing as a B-side.
On April 16, 2012, Autumn announced her plans to debut a three-hour musical adaptation of her autobiographical novel on London's West End theatre in 2014. According to her interview with Mulatschag, she has plans to play the roles of both protagonists, Emilie and Emily.
In late 2011, a twelve-minute teaser was released for Darren Lynn Bousman and Terrance Zdunich's project The Devil's Carnival, featuring Autumn as The Painted Doll, her first major acting role. The film was released in April 2012. "Bloody Crumpets" members Beth "The Blessed Contessa" Hinderliter and Maggie "Captain Maggot" Lally also appear in the film as Woe-Maidens.
On June 13, 2012, Autumn announced on her blog the release date of Fight Like a Girl, which was on July 24 of the same year.
In 2013, Autumn produced and starred in her first ever music video, directed by Darren Lynn Bousman, for the song "Fight Like a Girl". Also appearing in the video are Autumn's Devil's Carnival co-stars Dayton Callie and Marc Senter, as well as Veronica Varlow, among others.
In 2014, it was announced that Autumn would be appearing at a handful of dates on the 2014 Vans Warped Tour with an installation called "The Asylum Experience", which will include music, burlesque, circus sideshow attractions and theater.
On September 22, 2018, she released The Asylum for Wayward Victorian Girls: Behind the Musical, an album with songs made for her upcoming musical.
On November 3, 2021, Autumn released the single The Passenger, a cover of the song by Iggy Pop, marking her first official release in three years.
Influences and musical style
Her music encompasses a wide range of styles. Autumn's vocal range is contralto, but also has the ability to perform in the dramatic soprano range. Her vocal work has been compared to Tori Amos, Kate Bush, and The Creatures. She has released two instrumental albums (On a Day... and Laced/Unlaced), and four featuring her vocals: Enchant, Opheliac, A Bit o' This & That, and "Fight Like a Girl". The 2003 album Enchant drew on "new age chamber music, trip hop baroque, and experimental space pop". Autumn layers her voice frequently, and incorporates electronics and electronic effects into her work on Enchant; she also combines strings and piano for some songs, while others feature mainly the piano or violin. The 2006 release Opheliac featured "cabaret, electronic, symphonic, new age, and good ol' rock & roll (and heavy on the theatrical bombast)".
A classically trained musician, Autumn is influenced by plays, novels, and history, particularly the Victorian era. She enjoys the works of Shakespeare, Elizabeth Barrett Browning and husband Robert, and Edgar Allan Poe. She incorporates sounds resembling Victorian machinery such as locomotives, which she noted was "sort of a steampunk thing". While a young Autumn cited Itzhak Perlman as an influence because of the happiness she believed he felt when he played, her main musical influence and inspiration is the English violinist Nigel Kennedy. Her favorite singer is Morrissey from The Smiths. She takes inspiration for her songs from her life experiences and mixes in "layers and layers of references, connections, other stories and metaphors". Autumn has variously described her music and style as "Psychotic Vaudeville Burlesque", "Victoriandustrial'", a term she coined, and glam rock because of her use of glitter onstage. According to Autumn, her music "wasn't meant to be cutesy" and is labeled as "industrial" mainly because of her use of drums and yelling. Her adaption of "O Mistress Mine" was praised by author and theater director
Barry Edelstein as "a ravishing, guaranteed tearjerker".
For her live performances, which she calls dinner theatre because of her practice of throwing tea and tea-time snacks off of the stage, Autumn makes use of burlesque—"a show that was mainly using humour and sexuality to make a mockery of things that were going on socially and politically"—to counterbalance the more morbid topics discussed in her music, such as abuse, suicide and self-mutilation. Her shows feature handmade costumes, fire tricks, theatrics, and her all-female backing band, The Bloody Crumpets, a group whose members have variously included burlesque performer Veronica Varlow as The Naughty Veronica, performance artist Maggie Lally as Captain Maggot, Jill Evyn as Lady Amalthea (or Moth), actress and performer Beth Hinderliter as The Blessed Contessa, actress Aprella Godfrey Barule as Lady Aprella, German musician Lucina as Little Lucina, cellist Sarah Kim as Lady Joo Hee, German costume designer Vecona as Captain Vecona, Jesselynn Desmond as Little Miss Sugarless, and Ulorin Vex. Her intention is for the live shows to be a statement of "anti-repression" and empowerment.
Personal life
She keeps a ritual of drawing a heart on her cheek as a symbol of protection.
Autumn became vegetarian at age eleven after being unable to rationalize why she should eat farm animals but not her pet dog; in her late-teens, she became vegan. She has stated she believes that there is a link between the treatment of women and animals in society. In August 2014, Autumn said she had developed copper toxicity and was no longer vegan, although still a committed vegetarian.
In 2021, Autumn adopted a Toy Manchester Terrier, who she named Darjeeling.
She has endorsed companies such as Manic Panic and Samson Tech.
Autumn has bipolar disorder, which she has discussed in a number of interviews.
Discography
Studio albums
Enchant (2003)
Opheliac (2006)
Fight Like a Girl (2012)
The Asylum for Wayward Victorian Girls: Behind the Musical (2018)
Instrumental albums
On a Day... (2000)
Laced/Unlaced (2007)
Concert tours
The Asylum Tour - 2007
The Plague Tour - 2008
The Gate Tour - 2008-2009
The Key Tour - 2009
The Door Tour - 2011
The Fight Like a Girl Tour - 2011-2012
Bibliography
Across the Sky & Other Poems (2000)
Your Sugar Sits Untouched (2005)
The Asylum for Wayward Victorian Girls (2009)
Filmography
11-11-11 as 11'er in Video (2011) Uncredited
The Devil's Carnival (2012) as Painted Doll
Alleluia! The Devil's Carnival as June / The Painted Doll
Notes
References
External links
Emilie Autumn MetalBlast.net interview, April 17, 2012.
Interview with Emilie Autumn
1979 births
21st-century American poets
21st-century American singers
American contraltos
American electronic musicians
American feminists
American harpsichordists
American industrial musicians
American people of German descent
American rock violinists
American women poets
Dark cabaret musicians
Women rock singers
Feminist musicians
Living people
Metropolis Records artists
Singers from California
Singers from Chicago
People with bipolar disorder
American women in electronic music
Writers from California
Writers from Illinois
21st-century American women singers
Electric violinists
21st-century violinists
Women harpsichordists
Steampunk music
Women in punk
| true |
[
"Jessica Lynn Danilczyk (known professionally as Jessie Daniels) (born August 2, 1987) is a former American actress, singer, and songwriter. She has appeared in independent films and commercials for Lifetime Television and MTV. She has also appeared in musical theater and off-Broadway plays. She retired from the entertainment industry in 2008.\n\nDiscography and appearances \nIn 2003, Daniels recorded an EP which she released independently via her website. She was also part of the World News Tonight 9/11 tribute special.\nDaniels's debut and only studio album Jessie Daniels was released on June 6, 2006. She co-wrote the entire album with her producer Scotty D. Three singles from the album appeared on music charts:\nThe Noise, Everyday & What I Hear.\n\nMusical style and influences \nHer musical style is a mix of pop rock, power pop and pop punk with Christian based lyrics. Her musical influences include Michelle Branch, Avril Lavigne, Stacie Orrico, Evanescence and Kelly Clarkson.\n\nReferences \n\n1987 births\nLiving people\nAmerican performers of Christian music\nMidas Records Nashville artists\n21st-century American women singers\n21st-century American singers",
"Dueto América was a Mexican musical duo composed of siblings Carolina and David González, from Aguascalientes, Aguascalientes whose greatest success was in the late 1940s. Carolina and her sister Elvira were also the members of another duo called \"Las Palomas\", which had a similar style to the duo with her brother David.\n\nStyle\n\nIn addition to singing contemporary songs, Dueto América also helped to revive older, almost extinct, folk songs known as corridos (with the help of Fernando Z. Maldonado and Felipe Valdés as composers).\n\nThe duo's string accompaniment, including harp (unusual at the time), was by Jacinto Gatica.\n\nSongs\n\"Ojitos Soñadores\"\n\"El venadito\"\n\"Tres Suspiros\"\n\"Un Día Con Otro\"\n\"Gaviota Traidora\"\n\"La Vida Infausta\"\n\"La Delgadina\"\n\"El Corrido de Tomás y Abel\"\n\nReferences\n\nMusical groups from Aguascalientes\nSibling musical duos"
] |
[
"Emilie Autumn",
"Influences and musical style",
"Who were Emilie's main influences?",
"Autumn is influenced by plays, novels, and history, particularly the Victorian era.",
"What was her musical style?",
"Autumn's vocal range is contralto, but also has the ability to perform in the dramatic soprano range. Her vocal work has been compared to Tori Amos, Kate Bush,"
] |
C_70107b3ed2834c31b68f02ba3926052b_0
|
Did she play any instruments?
| 3 |
Did Emilie Autumn play any instruments?
|
Emilie Autumn
|
Her music encompasses a wide range of styles. Autumn's vocal range is contralto, but also has the ability to perform in the dramatic soprano range. Her vocal work has been compared to Tori Amos, Kate Bush, and The Creatures. She has released two instrumental albums (On a Day... and Laced/Unlaced), and four featuring her vocals: Enchant, Opheliac, A Bit o' This & That, and "Fight Like A Girl". The 2003 album Enchant drew on "new age chamber music, trip hop baroque, and experimental space pop". Autumn layers her voice frequently, and incorporates electronics and electronic effects into her work on Enchant; she also combines strings and piano for some songs, while others feature mainly the piano or violin. The 2006 release Opheliac featured "cabaret, electronic, symphonic, new age, and good ol' rock & roll (and heavy on the theatrical bombast)". A classically trained musician, Autumn is influenced by plays, novels, and history, particularly the Victorian era. She enjoys the works of Shakespeare, Elizabeth Barrett Browning and her husband Robert, and Edgar Allan Poe. She incorporates sounds resembling Victorian machinery such as locomotives, which she noted was "sort of a steampunk thing". While a young Autumn cited Itzhak Perlman as an influence because of the happiness she believed he felt when he played, her main musical influence and inspiration is the English violinist Nigel Kennedy. Her favorite singer is Morrissey from The Smiths. She takes inspiration for her songs from her life experiences and mixes in "layers and layers of references, connections, other stories and metaphors". Autumn describes her music and style as "Psychotic Vaudeville Burlesque". She alternatively labels her music and style as "Victoriandustrial'", a term she coined, and glam rock because of her use of glitter onstage. According to Autumn, her music "wasn't meant to be cutesy" and is labeled as "industrial" mainly because of her use of drums and yelling. Her adaption of "O Mistress Mine" was praised by author and theater director Barry Edelstein as "a ravishing, guaranteed tearjerker". For her live performances, which she calls dinner theatre because of her practice of throwing tea and tea-time snacks offstage, Autumn makes use of burlesque--"a show that was mainly using humour and sexuality to make a mockery of things that were going on socially and politically"--to counterbalance the morbid topics such as abuse and self-mutilation. She incorporates handmade costumes, fire tricks, theatrics, and a female backing band, The Bloody Crumpets: Veronica Varlow, Jill Evyn (Moth), and formerly The Blessed Contessa, Lady Aprella, Little Lucina, Lady Joo Hee, Captain Vecona, Little Miss Sugarless, Mistress Jacinda, and the model Ulorin Vex. Another crumpet, Captain Maggot, has taken a leave. Her wish for the live shows is to be an "anti-repression statement" and empowerment. CANNOTANSWER
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incorporates electronics and electronic effects into her work on Enchant; she also combines strings and piano for some songs, while others feature mainly the piano or violin.
|
Emilie Autumn Liddell (born September 22, 1979), better known by her stage name Emilie Autumn, is an American singer-songwriter, poet, author and violinist. Autumn's musical style is described by her as "Fairy Pop", "Fantasy Rock" or "Victoriandustrial". It is influenced by glam rock and from plays, novels, and history, particularly the Victorian era. Performing with her all-female backup dancers The Bloody Crumpets, Autumn incorporates elements of classical music, cabaret, electronica, and glam rock with theatrics, and burlesque.
Growing up in Malibu, California, Autumn began learning the violin at the age of four and left regular school five years later with the goal of becoming a world-class violinist; she practiced eight or nine hours a day and read a wide range of literature. Progressing to writing her own music, she studied under various teachers and went to Indiana University, which she left over issues regarding the relationship between classical music and the appearance of the performer. Through her own independent label Traitor Records, Autumn debuted with her classical album On a Day: Music for Violin & Continuo, followed by the release in 2003 of her album Enchant.
Autumn appeared in singer Courtney Love's backing band on her 2004 America's Sweetheart tour and returned to Europe. She released the 2006 album Opheliac with the German label Trisol Music Group. In 2007, she released Laced/Unlaced; the re-release of On a Day... appeared as Laced with songs on the electric violin as Unlaced. She later left Trisol to join New York based The End Records in 2009 and release Opheliac in the United States, where previously it had only been available as an import. In 2012, she released the album Fight Like a Girl. She played the role of the Painted Doll in Darren Lynn Bousman's 2012 film The Devil's Carnival, as well as its 2015 sequel, Alleluia! The Devil's Carnival.
Life and career
1979–2000: Beginnings
Emilie Autumn was born in Los Angeles, California, on September 22, 1979. Autumn grew up in Malibu, California. She has stated that "being surrounded by nature and sea had a lot to do with [her] development as a 'free spirit.'" Her mother worked as a seamstress, and she has said that her father was a German immigrant with whom she did not share a close relationship. While not musicians, her family enjoyed various genres of music.
When Autumn was four years old, she started learning the violin, and later commented: "I remember asking for a violin, but I don't remember knowing what one was. I might have thought it was a kind of pony for all I know, but I don't remember being disappointed." Four years later, Autumn made her musical debut as a solo violinist performing with an orchestra, and won a competition. At the age of nine or ten, she left regular school with the goal of becoming a world-class violinist. On her time at the school, she remarked, "I hated it anyway, what with the status as 'weird,' 'antisocial,' and the physical threats, there seemed to be no reason to go anymore, so I just didn't." She practiced eight or nine hours a day, had lessons, read a wide range of literature, participated in orchestra practice, and was home-schooled. Growing up, she owned a large CD collection of "violin concertos, symphonies, chamber music, opera, and a little jazz". She began writing her own music and poetry at age thirteen or fourteen, though she never planned to sing any of her songs. She studied under various teachers and attended Indiana University in Bloomington, but left after two years there, because she disagreed with the prevailing views on individuality and classical music. She believed that neither the audience nor the original composer would be insulted by the clothing and appearance of the performer.
While convinced that she would only play violin, eighteen-year-old Autumn decided to sing on one of her songs as a way of demonstrating to a major music producer, who wanted to sign her on a label, how it should sound. She became unhappy with the changes done to her songs, and decided to break away from the label and create her own independent record label, Traitor Records. Through it, she debuted with her classical album On a Day: Music for Violin & Continuo, which she recorded in 1997 when she was seventeen years old; its title refers to the fact that the album took only a day to record. It consists of her performing works for the baroque violin accompanied by Roger Lebow on the baroque cello, Edward Murray on harpsichord, and Michael Egan on lute. She considered it "more of a demo despite its length", and released it as "a saleable album" after fans who enjoyed her "rock performances starting asking for a classical album so that they could hear more of the violin." She also debuted with her poetry book Across the Sky & Other Poems in 2000, later re-released in 2005 as Your Sugar Sits Untouched with a music-accompanied audiobook.
2001–04: Enchant and collaborations
As part of a recording project, Autumn traveled to Chicago, Illinois, in 2001, and decided to stay because she enjoyed the public transportation system and music scene there. She released the 2001 EP Chambermaid while finishing Enchant—she alternatively labeled the musical style on Chambermaid as "fantasy rock" and cabaret—and wrote the 2001 charity single "By the Sword" after the events of September 11, 2001. According to her, the song is about strength, not violence; the act of swearing by the sword represents "an unbreakable promise to right a wrong, to stay true".
On February 26, 2003, Autumn released her concept album Enchant, which spanned multiple musical styles: "new-age, pop and trip hop chamber music". Written during her late teenage years, Enchant revolved around the supernatural realm and its effect on the modern-day world. Autumn labeled it as "fantasy rock", which dealt with "dreams and stories and ghosts and faeries who'll bite your head off if you dare to touch them". The faery-themed "Enchant Puzzle" appeared on the artwork of the album; her reward for the person who would solve it consisted of faery-related items. Her bandmates consisted of cellist Joey Harvey, drummer Heath Jansen, guitarist Ben Lehl, and bassist Jimmy Vanaria, who also worked on the electronics. At the same time of Enchants release, Autumn had several side projects: Convent, a musical group for which she recorded all four voices; Ravensong, "a classical baroque ensemble" that she formed with friends in California; and The Jane Brooks Project, which she dedicated to the real-life, 16th-century Jane Brooks—a woman executed for witchcraft.
On the night of the Enchant release party, Autumn learned that Courtney Love had invited her to record an album, America's Sweetheart, and embark on the tour to promote it. Contributing violin and vocals, Autumn appeared in Love's backing band The Chelsea— along with Radio Sloan, Dvin Kirakosian, Samantha Maloney, and Lisa Leveridge—on the 2004 tour. Much of Autumn's violin work was ultimately not released on the album; she commented: "This had to do entirely with new producers taking over the project after our little vacation in France, and carefully discarding all of our sessions." She performed live with Love and The Chelsea on Late Show with David Letterman on March 17, 2004, and at Bowery Ballroom the next day. In September 2004, her father died from lung cancer, even though he had quit smoking twenty years earlier. Near the end of 2004, she was filmed for an appearance on an episode of HGTV's Crafters Coast to Coast, showing viewers how to create faery wings and sushi-styled soap—both products she sold in her online "web design and couture fashion house", WillowTech House. On December 23, 2004, she appeared on the Chicago-based television station WGN as part of the string quartet backing up Billy Corgan and Dennis DeYoung's duet of "We Three Kings".
2005–09: Opheliac, Laced/Unlaced, and A Bit o' This & That
Autumn began work on her concept album Opheliac in August 2004, and recorded it at Mad Villain Studios in Chicago. In August 2005, she created the costumes for Corgan's music video for the track "Walking Shade"; she also contributed violin and vocals for the track "DIA" from his 2005 album TheFutureEmbrace. In late 2005, Autumn also recorded vocals and violin for "The Gates of Eternity" from Attrition's 2008 album All Mine Enemys Whispers: The Story of Mary Ann Cotton, a concept album focusing on the Victorian serial killer Mary Ann Cotton. Autumn later protested the release of the song, claiming that it was unfinished, "altered without her permission", and had been intended only as a possible collaboration with Martin Bowes.
In January 2006, Autumn performed a song from the album, "Misery Loves Company", on WGN, before the album's release by the German label Trisol Music Group in September. She released the limited-edition, preview EP Opheliac through her own label, Traitor Records, in spring 2006; while the Opheliac EPs were being shipped, Autumn claimed that her offices had been robbed, causing the delay in the album release and the shipping of the EPs. According to her, Opheliac "was the documentation of a completely life-changing and life-ending experience". At one time, Autumn did have plans to film a music video for her song "Liar", which included "bloody bathtubs". Her song "Opheliac" later appeared on the 2007 albums 13th Street: The Sound of Mystery, Vol. 3, published by ZYX Music, and Fuck the Mainstream, Vol. 1, published by Alfa Matrix on June 19. On October 9, 2006, she appeared on the Adult Swim cartoon Metalocalypse as a guest artist and on the subsequent 2007 album The Dethalbum. November 2006 saw the release of the EP Liar/Dead Is the New Alive, which featured remixes of songs from Opheliac and new material.
Autumn released her instrumental album, Laced/Unlaced in March 2007; it consisted of two discs: Laced, the re-release of On a Day..., and Unlaced, new songs for the electric violin. She decided to re-release On a Day as Laced because she "felt that it made a nice contrast to the metal shredding fiddle album, "Unlaced", and [...] loved that it was the perfect representation of "then" versus "now". She also performed live at the German musical events Wave Gotik Treffen and M'era Luna Festival in 2007. She later released A Bit o' This & That: a rarities album of her covers, including songs from The Beatles and The Smiths, classical pieces, and her own songs. In 2008, she released the EP 4 o'Clock, which contained remixes of songs from Opheliac, new songs, and a reading from her autobiographical novel The Asylum for Wayward Victorian Girls. She also released another EP, Girls Just Wanna Have Fun &Bohemian Rhapsody, the same year. A year later, Autumn broke away from Trisol Music Group to join The End Records and re-release Opheliac in the United States on October 27, 2009; previously, it was only available there as an import. The re-release included extras such as pictures, bonus tracks, an excerpt from The Asylum for Wayward Victorian Girls, and a video.
In addition to releasing her own material, Autumn collaborated with other musicians. She contributed backing vocals and violin to the track "Dry" by Die Warzau and made an appearance in the band's music video for "Born Again". She played violin on the song "UR A WMN NOW" from OTEP's 2009 album, Smash the Control Machine. Additionally, two of her tracks appeared in film soundtracks: "Organ Grinder" from 4 o'Clock on the European edition of Saw III and a remixed version of "Dead Is The New Alive" from Opheliac on the international version of Saw IV.
2010–present: The Asylum for Wayward Victorian Girls and Fight Like a Girl
Autumn's debut novel, The Asylum for Wayward Victorian Girls, was self-published in late 2009, with a second edition following in 2010. Because of the book's nature and possible autobiographical sections, she claimed its release was delayed because some did not want it published. The book combines Autumn's own real life journal entries, including those chronicling her time in a psych ward, and the diary of a fictional Victorian-era asylum inmate named "Emily". Autumn has said that the intent of the book was to show "there’s very little difference from asylums for ladies in 1841 and the ones for us now," and that the subject of mental illness remains misunderstood.
In June 2010, Autumn released the acronym of her upcoming album, F.L.A.G., on her Twitter account, before revealing the full title as Fight Like a Girl. In her words, the meaning behind the title is "about taking all these things that make women the underdogs and using them to your advantage". Based on her novel, The Asylum for Wayward Victorian Girls, the album has been described as "an operatic feminist treatise set inside an insane asylum, wherein the female inmates gradually realize their own strength in numbers". On August 30, 2010, she announced that she would be undergoing jaw surgery, and had to postpone her North American tour dates while she recovered. In September 2011, she posted the full lyrics to the album's title track, "Fight Like a Girl", on her Twitter account. Autumn appeared at the 2011 Harvest Festival in Australia, and had planned to debut two songs from Fight Like a Girl during those performances. On April 11, 2012, Autumn released the single "Fight Like a Girl", with the song "Time for Tea" appearing as a B-side.
On April 16, 2012, Autumn announced her plans to debut a three-hour musical adaptation of her autobiographical novel on London's West End theatre in 2014. According to her interview with Mulatschag, she has plans to play the roles of both protagonists, Emilie and Emily.
In late 2011, a twelve-minute teaser was released for Darren Lynn Bousman and Terrance Zdunich's project The Devil's Carnival, featuring Autumn as The Painted Doll, her first major acting role. The film was released in April 2012. "Bloody Crumpets" members Beth "The Blessed Contessa" Hinderliter and Maggie "Captain Maggot" Lally also appear in the film as Woe-Maidens.
On June 13, 2012, Autumn announced on her blog the release date of Fight Like a Girl, which was on July 24 of the same year.
In 2013, Autumn produced and starred in her first ever music video, directed by Darren Lynn Bousman, for the song "Fight Like a Girl". Also appearing in the video are Autumn's Devil's Carnival co-stars Dayton Callie and Marc Senter, as well as Veronica Varlow, among others.
In 2014, it was announced that Autumn would be appearing at a handful of dates on the 2014 Vans Warped Tour with an installation called "The Asylum Experience", which will include music, burlesque, circus sideshow attractions and theater.
On September 22, 2018, she released The Asylum for Wayward Victorian Girls: Behind the Musical, an album with songs made for her upcoming musical.
On November 3, 2021, Autumn released the single The Passenger, a cover of the song by Iggy Pop, marking her first official release in three years.
Influences and musical style
Her music encompasses a wide range of styles. Autumn's vocal range is contralto, but also has the ability to perform in the dramatic soprano range. Her vocal work has been compared to Tori Amos, Kate Bush, and The Creatures. She has released two instrumental albums (On a Day... and Laced/Unlaced), and four featuring her vocals: Enchant, Opheliac, A Bit o' This & That, and "Fight Like a Girl". The 2003 album Enchant drew on "new age chamber music, trip hop baroque, and experimental space pop". Autumn layers her voice frequently, and incorporates electronics and electronic effects into her work on Enchant; she also combines strings and piano for some songs, while others feature mainly the piano or violin. The 2006 release Opheliac featured "cabaret, electronic, symphonic, new age, and good ol' rock & roll (and heavy on the theatrical bombast)".
A classically trained musician, Autumn is influenced by plays, novels, and history, particularly the Victorian era. She enjoys the works of Shakespeare, Elizabeth Barrett Browning and husband Robert, and Edgar Allan Poe. She incorporates sounds resembling Victorian machinery such as locomotives, which she noted was "sort of a steampunk thing". While a young Autumn cited Itzhak Perlman as an influence because of the happiness she believed he felt when he played, her main musical influence and inspiration is the English violinist Nigel Kennedy. Her favorite singer is Morrissey from The Smiths. She takes inspiration for her songs from her life experiences and mixes in "layers and layers of references, connections, other stories and metaphors". Autumn has variously described her music and style as "Psychotic Vaudeville Burlesque", "Victoriandustrial'", a term she coined, and glam rock because of her use of glitter onstage. According to Autumn, her music "wasn't meant to be cutesy" and is labeled as "industrial" mainly because of her use of drums and yelling. Her adaption of "O Mistress Mine" was praised by author and theater director
Barry Edelstein as "a ravishing, guaranteed tearjerker".
For her live performances, which she calls dinner theatre because of her practice of throwing tea and tea-time snacks off of the stage, Autumn makes use of burlesque—"a show that was mainly using humour and sexuality to make a mockery of things that were going on socially and politically"—to counterbalance the more morbid topics discussed in her music, such as abuse, suicide and self-mutilation. Her shows feature handmade costumes, fire tricks, theatrics, and her all-female backing band, The Bloody Crumpets, a group whose members have variously included burlesque performer Veronica Varlow as The Naughty Veronica, performance artist Maggie Lally as Captain Maggot, Jill Evyn as Lady Amalthea (or Moth), actress and performer Beth Hinderliter as The Blessed Contessa, actress Aprella Godfrey Barule as Lady Aprella, German musician Lucina as Little Lucina, cellist Sarah Kim as Lady Joo Hee, German costume designer Vecona as Captain Vecona, Jesselynn Desmond as Little Miss Sugarless, and Ulorin Vex. Her intention is for the live shows to be a statement of "anti-repression" and empowerment.
Personal life
She keeps a ritual of drawing a heart on her cheek as a symbol of protection.
Autumn became vegetarian at age eleven after being unable to rationalize why she should eat farm animals but not her pet dog; in her late-teens, she became vegan. She has stated she believes that there is a link between the treatment of women and animals in society. In August 2014, Autumn said she had developed copper toxicity and was no longer vegan, although still a committed vegetarian.
In 2021, Autumn adopted a Toy Manchester Terrier, who she named Darjeeling.
She has endorsed companies such as Manic Panic and Samson Tech.
Autumn has bipolar disorder, which she has discussed in a number of interviews.
Discography
Studio albums
Enchant (2003)
Opheliac (2006)
Fight Like a Girl (2012)
The Asylum for Wayward Victorian Girls: Behind the Musical (2018)
Instrumental albums
On a Day... (2000)
Laced/Unlaced (2007)
Concert tours
The Asylum Tour - 2007
The Plague Tour - 2008
The Gate Tour - 2008-2009
The Key Tour - 2009
The Door Tour - 2011
The Fight Like a Girl Tour - 2011-2012
Bibliography
Across the Sky & Other Poems (2000)
Your Sugar Sits Untouched (2005)
The Asylum for Wayward Victorian Girls (2009)
Filmography
11-11-11 as 11'er in Video (2011) Uncredited
The Devil's Carnival (2012) as Painted Doll
Alleluia! The Devil's Carnival as June / The Painted Doll
Notes
References
External links
Emilie Autumn MetalBlast.net interview, April 17, 2012.
Interview with Emilie Autumn
1979 births
21st-century American poets
21st-century American singers
American contraltos
American electronic musicians
American feminists
American harpsichordists
American industrial musicians
American people of German descent
American rock violinists
American women poets
Dark cabaret musicians
Women rock singers
Feminist musicians
Living people
Metropolis Records artists
Singers from California
Singers from Chicago
People with bipolar disorder
American women in electronic music
Writers from California
Writers from Illinois
21st-century American women singers
Electric violinists
21st-century violinists
Women harpsichordists
Steampunk music
Women in punk
| true |
[
"The panerusan instruments or elaborating instruments are one of the divisions of instruments used in Indonesian gamelan. Instead of the rhythmic structure provided by the colotomic instruments, and the core melody of the balungan instruments, the panerusan instruments play variations on the balungan. They are usually the most difficult instruments to learn in the gamelan, but provide the most opportunity for improvisation and creativity in the performer.\n\nPanerusan instruments include the gendér, suling, rebab, siter/celempung, bonang, and gambang. The female singer, the pesindhen, is also often included, as she sings in a similar fashion to the instrumental techniques. As these include the only wind instruments, string instruments, and wooden percussion instruments found in the gamelan, they provide a timbre which stands out from most of the gamelan.\n\nThe notes that the panerusan instruments play are largely in melodic formulas known as cengkok and sekaran. These are selected from a huge collection which every performer carries in his head, based on the patet, mood, and traditions surrounding a piece.\n\nSekaran\nSekaran (Javanese for \"flowering\") is a type of elaboration used in the Javanese gamelan, especially on the bonang barung.\n\nIt is similar to the cengkok of other elaborating instruments in its floridity and openness to improvisation, but a sekaran generally happens only at the end of a nongan or other colotomic division. It is usually preceded by imbal, an interlocking pattern between the bonang barung and the bonang panerus.\n\nDifferent sekaran are used in different pathet, but there are always a variety available. A good bonang player will choose a sekaran based on how the other instruments and the sindhen are improvising.\n\nTraditionally the bonang panerus did not play sekaran, and simply continued in the imbal pattern, but now some players use sekaran, as long as they maintain the fast character of typical bonang panerus parts.\n\nSee also\n\n Gamelan\n Slendro\n Pathet\n Cengkok\n Seleh\n Music of Indonesia\n Music of Java\n\nReferences\n\nGamelan instruments\nGamelan theory",
"Sonyae Elise is an American singer-songwriter based in Los Angeles who won the inaugural and only series of Platinum Hit, a Bravo American television channel show about new songwriters.\n\nHer prizes included $100,000 as a cash prize, an RCA/Jive Records contract and a publishing deal with The Writing Camp. According to her interview with Billboard Magazine, she does not read music nor can she play any instruments. \"I have a lot of old stuff at my mother's house, notebooks and things with scripts and lyrics written in them. I did a lot of theater – 'Grease,' 'The Lion King' – and I wanted to write music for plays. Lyrics came naturally to me. I listened to a lot of pop music and KRS-One and MC Lyte and I saw (writing) as a way to express my thoughts.\" For her winning song, she wrote \"My Religion\" which was released as a single after her victory.\n\nSongwriting credits & other vocal appearances\n\nCredits and appearances are courtesy of Discogs and AllMusic.\n\nReferences\n\nExternal links\nPlatinum Hit\nSonyae Elise page on Bravo website\nDiscogs-Sonyae Elise\nAllmusic-Sonyae Elise\n\nAmerican women singer-songwriters\nReality show winners\nLiving people\n21st-century American singers\n21st-century American women singers\nYear of birth missing (living people)"
] |
[
"Emilie Autumn",
"Influences and musical style",
"Who were Emilie's main influences?",
"Autumn is influenced by plays, novels, and history, particularly the Victorian era.",
"What was her musical style?",
"Autumn's vocal range is contralto, but also has the ability to perform in the dramatic soprano range. Her vocal work has been compared to Tori Amos, Kate Bush,",
"Did she play any instruments?",
"incorporates electronics and electronic effects into her work on Enchant; she also combines strings and piano for some songs, while others feature mainly the piano or violin."
] |
C_70107b3ed2834c31b68f02ba3926052b_0
|
Did she begin singing and playing instruments as a child?
| 4 |
Did Emilie Autumn begin singing and playing instruments as a child?
|
Emilie Autumn
|
Her music encompasses a wide range of styles. Autumn's vocal range is contralto, but also has the ability to perform in the dramatic soprano range. Her vocal work has been compared to Tori Amos, Kate Bush, and The Creatures. She has released two instrumental albums (On a Day... and Laced/Unlaced), and four featuring her vocals: Enchant, Opheliac, A Bit o' This & That, and "Fight Like A Girl". The 2003 album Enchant drew on "new age chamber music, trip hop baroque, and experimental space pop". Autumn layers her voice frequently, and incorporates electronics and electronic effects into her work on Enchant; she also combines strings and piano for some songs, while others feature mainly the piano or violin. The 2006 release Opheliac featured "cabaret, electronic, symphonic, new age, and good ol' rock & roll (and heavy on the theatrical bombast)". A classically trained musician, Autumn is influenced by plays, novels, and history, particularly the Victorian era. She enjoys the works of Shakespeare, Elizabeth Barrett Browning and her husband Robert, and Edgar Allan Poe. She incorporates sounds resembling Victorian machinery such as locomotives, which she noted was "sort of a steampunk thing". While a young Autumn cited Itzhak Perlman as an influence because of the happiness she believed he felt when he played, her main musical influence and inspiration is the English violinist Nigel Kennedy. Her favorite singer is Morrissey from The Smiths. She takes inspiration for her songs from her life experiences and mixes in "layers and layers of references, connections, other stories and metaphors". Autumn describes her music and style as "Psychotic Vaudeville Burlesque". She alternatively labels her music and style as "Victoriandustrial'", a term she coined, and glam rock because of her use of glitter onstage. According to Autumn, her music "wasn't meant to be cutesy" and is labeled as "industrial" mainly because of her use of drums and yelling. Her adaption of "O Mistress Mine" was praised by author and theater director Barry Edelstein as "a ravishing, guaranteed tearjerker". For her live performances, which she calls dinner theatre because of her practice of throwing tea and tea-time snacks offstage, Autumn makes use of burlesque--"a show that was mainly using humour and sexuality to make a mockery of things that were going on socially and politically"--to counterbalance the morbid topics such as abuse and self-mutilation. She incorporates handmade costumes, fire tricks, theatrics, and a female backing band, The Bloody Crumpets: Veronica Varlow, Jill Evyn (Moth), and formerly The Blessed Contessa, Lady Aprella, Little Lucina, Lady Joo Hee, Captain Vecona, Little Miss Sugarless, Mistress Jacinda, and the model Ulorin Vex. Another crumpet, Captain Maggot, has taken a leave. Her wish for the live shows is to be an "anti-repression statement" and empowerment. CANNOTANSWER
|
CANNOTANSWER
|
Emilie Autumn Liddell (born September 22, 1979), better known by her stage name Emilie Autumn, is an American singer-songwriter, poet, author and violinist. Autumn's musical style is described by her as "Fairy Pop", "Fantasy Rock" or "Victoriandustrial". It is influenced by glam rock and from plays, novels, and history, particularly the Victorian era. Performing with her all-female backup dancers The Bloody Crumpets, Autumn incorporates elements of classical music, cabaret, electronica, and glam rock with theatrics, and burlesque.
Growing up in Malibu, California, Autumn began learning the violin at the age of four and left regular school five years later with the goal of becoming a world-class violinist; she practiced eight or nine hours a day and read a wide range of literature. Progressing to writing her own music, she studied under various teachers and went to Indiana University, which she left over issues regarding the relationship between classical music and the appearance of the performer. Through her own independent label Traitor Records, Autumn debuted with her classical album On a Day: Music for Violin & Continuo, followed by the release in 2003 of her album Enchant.
Autumn appeared in singer Courtney Love's backing band on her 2004 America's Sweetheart tour and returned to Europe. She released the 2006 album Opheliac with the German label Trisol Music Group. In 2007, she released Laced/Unlaced; the re-release of On a Day... appeared as Laced with songs on the electric violin as Unlaced. She later left Trisol to join New York based The End Records in 2009 and release Opheliac in the United States, where previously it had only been available as an import. In 2012, she released the album Fight Like a Girl. She played the role of the Painted Doll in Darren Lynn Bousman's 2012 film The Devil's Carnival, as well as its 2015 sequel, Alleluia! The Devil's Carnival.
Life and career
1979–2000: Beginnings
Emilie Autumn was born in Los Angeles, California, on September 22, 1979. Autumn grew up in Malibu, California. She has stated that "being surrounded by nature and sea had a lot to do with [her] development as a 'free spirit.'" Her mother worked as a seamstress, and she has said that her father was a German immigrant with whom she did not share a close relationship. While not musicians, her family enjoyed various genres of music.
When Autumn was four years old, she started learning the violin, and later commented: "I remember asking for a violin, but I don't remember knowing what one was. I might have thought it was a kind of pony for all I know, but I don't remember being disappointed." Four years later, Autumn made her musical debut as a solo violinist performing with an orchestra, and won a competition. At the age of nine or ten, she left regular school with the goal of becoming a world-class violinist. On her time at the school, she remarked, "I hated it anyway, what with the status as 'weird,' 'antisocial,' and the physical threats, there seemed to be no reason to go anymore, so I just didn't." She practiced eight or nine hours a day, had lessons, read a wide range of literature, participated in orchestra practice, and was home-schooled. Growing up, she owned a large CD collection of "violin concertos, symphonies, chamber music, opera, and a little jazz". She began writing her own music and poetry at age thirteen or fourteen, though she never planned to sing any of her songs. She studied under various teachers and attended Indiana University in Bloomington, but left after two years there, because she disagreed with the prevailing views on individuality and classical music. She believed that neither the audience nor the original composer would be insulted by the clothing and appearance of the performer.
While convinced that she would only play violin, eighteen-year-old Autumn decided to sing on one of her songs as a way of demonstrating to a major music producer, who wanted to sign her on a label, how it should sound. She became unhappy with the changes done to her songs, and decided to break away from the label and create her own independent record label, Traitor Records. Through it, she debuted with her classical album On a Day: Music for Violin & Continuo, which she recorded in 1997 when she was seventeen years old; its title refers to the fact that the album took only a day to record. It consists of her performing works for the baroque violin accompanied by Roger Lebow on the baroque cello, Edward Murray on harpsichord, and Michael Egan on lute. She considered it "more of a demo despite its length", and released it as "a saleable album" after fans who enjoyed her "rock performances starting asking for a classical album so that they could hear more of the violin." She also debuted with her poetry book Across the Sky & Other Poems in 2000, later re-released in 2005 as Your Sugar Sits Untouched with a music-accompanied audiobook.
2001–04: Enchant and collaborations
As part of a recording project, Autumn traveled to Chicago, Illinois, in 2001, and decided to stay because she enjoyed the public transportation system and music scene there. She released the 2001 EP Chambermaid while finishing Enchant—she alternatively labeled the musical style on Chambermaid as "fantasy rock" and cabaret—and wrote the 2001 charity single "By the Sword" after the events of September 11, 2001. According to her, the song is about strength, not violence; the act of swearing by the sword represents "an unbreakable promise to right a wrong, to stay true".
On February 26, 2003, Autumn released her concept album Enchant, which spanned multiple musical styles: "new-age, pop and trip hop chamber music". Written during her late teenage years, Enchant revolved around the supernatural realm and its effect on the modern-day world. Autumn labeled it as "fantasy rock", which dealt with "dreams and stories and ghosts and faeries who'll bite your head off if you dare to touch them". The faery-themed "Enchant Puzzle" appeared on the artwork of the album; her reward for the person who would solve it consisted of faery-related items. Her bandmates consisted of cellist Joey Harvey, drummer Heath Jansen, guitarist Ben Lehl, and bassist Jimmy Vanaria, who also worked on the electronics. At the same time of Enchants release, Autumn had several side projects: Convent, a musical group for which she recorded all four voices; Ravensong, "a classical baroque ensemble" that she formed with friends in California; and The Jane Brooks Project, which she dedicated to the real-life, 16th-century Jane Brooks—a woman executed for witchcraft.
On the night of the Enchant release party, Autumn learned that Courtney Love had invited her to record an album, America's Sweetheart, and embark on the tour to promote it. Contributing violin and vocals, Autumn appeared in Love's backing band The Chelsea— along with Radio Sloan, Dvin Kirakosian, Samantha Maloney, and Lisa Leveridge—on the 2004 tour. Much of Autumn's violin work was ultimately not released on the album; she commented: "This had to do entirely with new producers taking over the project after our little vacation in France, and carefully discarding all of our sessions." She performed live with Love and The Chelsea on Late Show with David Letterman on March 17, 2004, and at Bowery Ballroom the next day. In September 2004, her father died from lung cancer, even though he had quit smoking twenty years earlier. Near the end of 2004, she was filmed for an appearance on an episode of HGTV's Crafters Coast to Coast, showing viewers how to create faery wings and sushi-styled soap—both products she sold in her online "web design and couture fashion house", WillowTech House. On December 23, 2004, she appeared on the Chicago-based television station WGN as part of the string quartet backing up Billy Corgan and Dennis DeYoung's duet of "We Three Kings".
2005–09: Opheliac, Laced/Unlaced, and A Bit o' This & That
Autumn began work on her concept album Opheliac in August 2004, and recorded it at Mad Villain Studios in Chicago. In August 2005, she created the costumes for Corgan's music video for the track "Walking Shade"; she also contributed violin and vocals for the track "DIA" from his 2005 album TheFutureEmbrace. In late 2005, Autumn also recorded vocals and violin for "The Gates of Eternity" from Attrition's 2008 album All Mine Enemys Whispers: The Story of Mary Ann Cotton, a concept album focusing on the Victorian serial killer Mary Ann Cotton. Autumn later protested the release of the song, claiming that it was unfinished, "altered without her permission", and had been intended only as a possible collaboration with Martin Bowes.
In January 2006, Autumn performed a song from the album, "Misery Loves Company", on WGN, before the album's release by the German label Trisol Music Group in September. She released the limited-edition, preview EP Opheliac through her own label, Traitor Records, in spring 2006; while the Opheliac EPs were being shipped, Autumn claimed that her offices had been robbed, causing the delay in the album release and the shipping of the EPs. According to her, Opheliac "was the documentation of a completely life-changing and life-ending experience". At one time, Autumn did have plans to film a music video for her song "Liar", which included "bloody bathtubs". Her song "Opheliac" later appeared on the 2007 albums 13th Street: The Sound of Mystery, Vol. 3, published by ZYX Music, and Fuck the Mainstream, Vol. 1, published by Alfa Matrix on June 19. On October 9, 2006, she appeared on the Adult Swim cartoon Metalocalypse as a guest artist and on the subsequent 2007 album The Dethalbum. November 2006 saw the release of the EP Liar/Dead Is the New Alive, which featured remixes of songs from Opheliac and new material.
Autumn released her instrumental album, Laced/Unlaced in March 2007; it consisted of two discs: Laced, the re-release of On a Day..., and Unlaced, new songs for the electric violin. She decided to re-release On a Day as Laced because she "felt that it made a nice contrast to the metal shredding fiddle album, "Unlaced", and [...] loved that it was the perfect representation of "then" versus "now". She also performed live at the German musical events Wave Gotik Treffen and M'era Luna Festival in 2007. She later released A Bit o' This & That: a rarities album of her covers, including songs from The Beatles and The Smiths, classical pieces, and her own songs. In 2008, she released the EP 4 o'Clock, which contained remixes of songs from Opheliac, new songs, and a reading from her autobiographical novel The Asylum for Wayward Victorian Girls. She also released another EP, Girls Just Wanna Have Fun &Bohemian Rhapsody, the same year. A year later, Autumn broke away from Trisol Music Group to join The End Records and re-release Opheliac in the United States on October 27, 2009; previously, it was only available there as an import. The re-release included extras such as pictures, bonus tracks, an excerpt from The Asylum for Wayward Victorian Girls, and a video.
In addition to releasing her own material, Autumn collaborated with other musicians. She contributed backing vocals and violin to the track "Dry" by Die Warzau and made an appearance in the band's music video for "Born Again". She played violin on the song "UR A WMN NOW" from OTEP's 2009 album, Smash the Control Machine. Additionally, two of her tracks appeared in film soundtracks: "Organ Grinder" from 4 o'Clock on the European edition of Saw III and a remixed version of "Dead Is The New Alive" from Opheliac on the international version of Saw IV.
2010–present: The Asylum for Wayward Victorian Girls and Fight Like a Girl
Autumn's debut novel, The Asylum for Wayward Victorian Girls, was self-published in late 2009, with a second edition following in 2010. Because of the book's nature and possible autobiographical sections, she claimed its release was delayed because some did not want it published. The book combines Autumn's own real life journal entries, including those chronicling her time in a psych ward, and the diary of a fictional Victorian-era asylum inmate named "Emily". Autumn has said that the intent of the book was to show "there’s very little difference from asylums for ladies in 1841 and the ones for us now," and that the subject of mental illness remains misunderstood.
In June 2010, Autumn released the acronym of her upcoming album, F.L.A.G., on her Twitter account, before revealing the full title as Fight Like a Girl. In her words, the meaning behind the title is "about taking all these things that make women the underdogs and using them to your advantage". Based on her novel, The Asylum for Wayward Victorian Girls, the album has been described as "an operatic feminist treatise set inside an insane asylum, wherein the female inmates gradually realize their own strength in numbers". On August 30, 2010, she announced that she would be undergoing jaw surgery, and had to postpone her North American tour dates while she recovered. In September 2011, she posted the full lyrics to the album's title track, "Fight Like a Girl", on her Twitter account. Autumn appeared at the 2011 Harvest Festival in Australia, and had planned to debut two songs from Fight Like a Girl during those performances. On April 11, 2012, Autumn released the single "Fight Like a Girl", with the song "Time for Tea" appearing as a B-side.
On April 16, 2012, Autumn announced her plans to debut a three-hour musical adaptation of her autobiographical novel on London's West End theatre in 2014. According to her interview with Mulatschag, she has plans to play the roles of both protagonists, Emilie and Emily.
In late 2011, a twelve-minute teaser was released for Darren Lynn Bousman and Terrance Zdunich's project The Devil's Carnival, featuring Autumn as The Painted Doll, her first major acting role. The film was released in April 2012. "Bloody Crumpets" members Beth "The Blessed Contessa" Hinderliter and Maggie "Captain Maggot" Lally also appear in the film as Woe-Maidens.
On June 13, 2012, Autumn announced on her blog the release date of Fight Like a Girl, which was on July 24 of the same year.
In 2013, Autumn produced and starred in her first ever music video, directed by Darren Lynn Bousman, for the song "Fight Like a Girl". Also appearing in the video are Autumn's Devil's Carnival co-stars Dayton Callie and Marc Senter, as well as Veronica Varlow, among others.
In 2014, it was announced that Autumn would be appearing at a handful of dates on the 2014 Vans Warped Tour with an installation called "The Asylum Experience", which will include music, burlesque, circus sideshow attractions and theater.
On September 22, 2018, she released The Asylum for Wayward Victorian Girls: Behind the Musical, an album with songs made for her upcoming musical.
On November 3, 2021, Autumn released the single The Passenger, a cover of the song by Iggy Pop, marking her first official release in three years.
Influences and musical style
Her music encompasses a wide range of styles. Autumn's vocal range is contralto, but also has the ability to perform in the dramatic soprano range. Her vocal work has been compared to Tori Amos, Kate Bush, and The Creatures. She has released two instrumental albums (On a Day... and Laced/Unlaced), and four featuring her vocals: Enchant, Opheliac, A Bit o' This & That, and "Fight Like a Girl". The 2003 album Enchant drew on "new age chamber music, trip hop baroque, and experimental space pop". Autumn layers her voice frequently, and incorporates electronics and electronic effects into her work on Enchant; she also combines strings and piano for some songs, while others feature mainly the piano or violin. The 2006 release Opheliac featured "cabaret, electronic, symphonic, new age, and good ol' rock & roll (and heavy on the theatrical bombast)".
A classically trained musician, Autumn is influenced by plays, novels, and history, particularly the Victorian era. She enjoys the works of Shakespeare, Elizabeth Barrett Browning and husband Robert, and Edgar Allan Poe. She incorporates sounds resembling Victorian machinery such as locomotives, which she noted was "sort of a steampunk thing". While a young Autumn cited Itzhak Perlman as an influence because of the happiness she believed he felt when he played, her main musical influence and inspiration is the English violinist Nigel Kennedy. Her favorite singer is Morrissey from The Smiths. She takes inspiration for her songs from her life experiences and mixes in "layers and layers of references, connections, other stories and metaphors". Autumn has variously described her music and style as "Psychotic Vaudeville Burlesque", "Victoriandustrial'", a term she coined, and glam rock because of her use of glitter onstage. According to Autumn, her music "wasn't meant to be cutesy" and is labeled as "industrial" mainly because of her use of drums and yelling. Her adaption of "O Mistress Mine" was praised by author and theater director
Barry Edelstein as "a ravishing, guaranteed tearjerker".
For her live performances, which she calls dinner theatre because of her practice of throwing tea and tea-time snacks off of the stage, Autumn makes use of burlesque—"a show that was mainly using humour and sexuality to make a mockery of things that were going on socially and politically"—to counterbalance the more morbid topics discussed in her music, such as abuse, suicide and self-mutilation. Her shows feature handmade costumes, fire tricks, theatrics, and her all-female backing band, The Bloody Crumpets, a group whose members have variously included burlesque performer Veronica Varlow as The Naughty Veronica, performance artist Maggie Lally as Captain Maggot, Jill Evyn as Lady Amalthea (or Moth), actress and performer Beth Hinderliter as The Blessed Contessa, actress Aprella Godfrey Barule as Lady Aprella, German musician Lucina as Little Lucina, cellist Sarah Kim as Lady Joo Hee, German costume designer Vecona as Captain Vecona, Jesselynn Desmond as Little Miss Sugarless, and Ulorin Vex. Her intention is for the live shows to be a statement of "anti-repression" and empowerment.
Personal life
She keeps a ritual of drawing a heart on her cheek as a symbol of protection.
Autumn became vegetarian at age eleven after being unable to rationalize why she should eat farm animals but not her pet dog; in her late-teens, she became vegan. She has stated she believes that there is a link between the treatment of women and animals in society. In August 2014, Autumn said she had developed copper toxicity and was no longer vegan, although still a committed vegetarian.
In 2021, Autumn adopted a Toy Manchester Terrier, who she named Darjeeling.
She has endorsed companies such as Manic Panic and Samson Tech.
Autumn has bipolar disorder, which she has discussed in a number of interviews.
Discography
Studio albums
Enchant (2003)
Opheliac (2006)
Fight Like a Girl (2012)
The Asylum for Wayward Victorian Girls: Behind the Musical (2018)
Instrumental albums
On a Day... (2000)
Laced/Unlaced (2007)
Concert tours
The Asylum Tour - 2007
The Plague Tour - 2008
The Gate Tour - 2008-2009
The Key Tour - 2009
The Door Tour - 2011
The Fight Like a Girl Tour - 2011-2012
Bibliography
Across the Sky & Other Poems (2000)
Your Sugar Sits Untouched (2005)
The Asylum for Wayward Victorian Girls (2009)
Filmography
11-11-11 as 11'er in Video (2011) Uncredited
The Devil's Carnival (2012) as Painted Doll
Alleluia! The Devil's Carnival as June / The Painted Doll
Notes
References
External links
Emilie Autumn MetalBlast.net interview, April 17, 2012.
Interview with Emilie Autumn
1979 births
21st-century American poets
21st-century American singers
American contraltos
American electronic musicians
American feminists
American harpsichordists
American industrial musicians
American people of German descent
American rock violinists
American women poets
Dark cabaret musicians
Women rock singers
Feminist musicians
Living people
Metropolis Records artists
Singers from California
Singers from Chicago
People with bipolar disorder
American women in electronic music
Writers from California
Writers from Illinois
21st-century American women singers
Electric violinists
21st-century violinists
Women harpsichordists
Steampunk music
Women in punk
| false |
[
"Ciara Considine is a musician known for her Celtic and folk music. She has toured throughout the world playing flute and piano, as well as other instruments, and singing.\n\nCiara Considine started singing with her older siblings, when she was a young child. Her parents were Irish immigrants living in the UK. She learned to play the flute and piano. Eventually, she joined the National Youth Choir of Great Britain. Later, she studied piano at the Royal Northern College of Music. She obtained a bachelor's degree, as well as a master's degree and a postgraduate diploma in music performance. Ciara also tutors instrumentalists.\n\nHer music has been featured on the Irish and Celtic Music Podcast, hosted by Marc Gunn.\n\nCiara Considine has released two albums.\n\nAlbums\n Ó Mo Chroí (2008)\n Beyond The Waves (2010)\n\nReferences\n\nExternal links\n Ciara Considine home page\n Ciara Considine's Myspace Page\n Ciara Considine's CDBaby Page\n Ciara Considine on last.fm\n Ciara Considine at the iTunes Musc Store\n Ciara Considine on TourClare.com\n Ciara's profile on the Celtic Friends Network\n Review of Ciara's Album, Ó Mo Chroí, from the Celtic MP3s Music Magazine.\n Review of Ciara's Song, Black is the Color, from the Celtic MP3s Music Magazine.\n\nLiving people\nEnglish folk musicians\nYear of birth missing (living people)\nEnglish folk singers\nPeople from Maidstone\nMusicians from Kent",
"Meredith Henderson (born November 24, 1983) is a Canadian actress known for playing the title role in The Adventures of Shirley Holmes.\n\nShe also had a leading role as wheelchair-using Cleo Bellows in the 2001 children's television series MythQuest opposite Christopher Jacot.\n\nIn 2005, she appeared in Shania: A Life in Eight Albums, a biopic of country star Shania Twain, in which she played the lead role. She did all the singing, dancing and guitar playing herself.\n\nHenderson also had a recurring role as the girlfriend of Harris Allan's character Hunter on the critically acclaimed, groundbreaking gay TV series Queer as Folk.\n\nHer sister is actress Beki Lantos.\n\nFilmography\n\nProducer\n Shut up and deal (2007)\n\nAwards and nominations\n\nReferences\n\nExternal links \n\n1983 births\nLiving people\n20th-century Canadian actresses\n21st-century Canadian actresses\nActresses from Ottawa\nCanadian child actresses\nCanadian film actresses\nCanadian television actresses"
] |
[
"Emilie Autumn",
"Influences and musical style",
"Who were Emilie's main influences?",
"Autumn is influenced by plays, novels, and history, particularly the Victorian era.",
"What was her musical style?",
"Autumn's vocal range is contralto, but also has the ability to perform in the dramatic soprano range. Her vocal work has been compared to Tori Amos, Kate Bush,",
"Did she play any instruments?",
"incorporates electronics and electronic effects into her work on Enchant; she also combines strings and piano for some songs, while others feature mainly the piano or violin.",
"Did she begin singing and playing instruments as a child?",
"I don't know."
] |
C_70107b3ed2834c31b68f02ba3926052b_0
|
Does she have any formal musical training?
| 5 |
Does Emilie Autumn have any formal musical training?
|
Emilie Autumn
|
Her music encompasses a wide range of styles. Autumn's vocal range is contralto, but also has the ability to perform in the dramatic soprano range. Her vocal work has been compared to Tori Amos, Kate Bush, and The Creatures. She has released two instrumental albums (On a Day... and Laced/Unlaced), and four featuring her vocals: Enchant, Opheliac, A Bit o' This & That, and "Fight Like A Girl". The 2003 album Enchant drew on "new age chamber music, trip hop baroque, and experimental space pop". Autumn layers her voice frequently, and incorporates electronics and electronic effects into her work on Enchant; she also combines strings and piano for some songs, while others feature mainly the piano or violin. The 2006 release Opheliac featured "cabaret, electronic, symphonic, new age, and good ol' rock & roll (and heavy on the theatrical bombast)". A classically trained musician, Autumn is influenced by plays, novels, and history, particularly the Victorian era. She enjoys the works of Shakespeare, Elizabeth Barrett Browning and her husband Robert, and Edgar Allan Poe. She incorporates sounds resembling Victorian machinery such as locomotives, which she noted was "sort of a steampunk thing". While a young Autumn cited Itzhak Perlman as an influence because of the happiness she believed he felt when he played, her main musical influence and inspiration is the English violinist Nigel Kennedy. Her favorite singer is Morrissey from The Smiths. She takes inspiration for her songs from her life experiences and mixes in "layers and layers of references, connections, other stories and metaphors". Autumn describes her music and style as "Psychotic Vaudeville Burlesque". She alternatively labels her music and style as "Victoriandustrial'", a term she coined, and glam rock because of her use of glitter onstage. According to Autumn, her music "wasn't meant to be cutesy" and is labeled as "industrial" mainly because of her use of drums and yelling. Her adaption of "O Mistress Mine" was praised by author and theater director Barry Edelstein as "a ravishing, guaranteed tearjerker". For her live performances, which she calls dinner theatre because of her practice of throwing tea and tea-time snacks offstage, Autumn makes use of burlesque--"a show that was mainly using humour and sexuality to make a mockery of things that were going on socially and politically"--to counterbalance the morbid topics such as abuse and self-mutilation. She incorporates handmade costumes, fire tricks, theatrics, and a female backing band, The Bloody Crumpets: Veronica Varlow, Jill Evyn (Moth), and formerly The Blessed Contessa, Lady Aprella, Little Lucina, Lady Joo Hee, Captain Vecona, Little Miss Sugarless, Mistress Jacinda, and the model Ulorin Vex. Another crumpet, Captain Maggot, has taken a leave. Her wish for the live shows is to be an "anti-repression statement" and empowerment. CANNOTANSWER
|
CANNOTANSWER
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Emilie Autumn Liddell (born September 22, 1979), better known by her stage name Emilie Autumn, is an American singer-songwriter, poet, author and violinist. Autumn's musical style is described by her as "Fairy Pop", "Fantasy Rock" or "Victoriandustrial". It is influenced by glam rock and from plays, novels, and history, particularly the Victorian era. Performing with her all-female backup dancers The Bloody Crumpets, Autumn incorporates elements of classical music, cabaret, electronica, and glam rock with theatrics, and burlesque.
Growing up in Malibu, California, Autumn began learning the violin at the age of four and left regular school five years later with the goal of becoming a world-class violinist; she practiced eight or nine hours a day and read a wide range of literature. Progressing to writing her own music, she studied under various teachers and went to Indiana University, which she left over issues regarding the relationship between classical music and the appearance of the performer. Through her own independent label Traitor Records, Autumn debuted with her classical album On a Day: Music for Violin & Continuo, followed by the release in 2003 of her album Enchant.
Autumn appeared in singer Courtney Love's backing band on her 2004 America's Sweetheart tour and returned to Europe. She released the 2006 album Opheliac with the German label Trisol Music Group. In 2007, she released Laced/Unlaced; the re-release of On a Day... appeared as Laced with songs on the electric violin as Unlaced. She later left Trisol to join New York based The End Records in 2009 and release Opheliac in the United States, where previously it had only been available as an import. In 2012, she released the album Fight Like a Girl. She played the role of the Painted Doll in Darren Lynn Bousman's 2012 film The Devil's Carnival, as well as its 2015 sequel, Alleluia! The Devil's Carnival.
Life and career
1979–2000: Beginnings
Emilie Autumn was born in Los Angeles, California, on September 22, 1979. Autumn grew up in Malibu, California. She has stated that "being surrounded by nature and sea had a lot to do with [her] development as a 'free spirit.'" Her mother worked as a seamstress, and she has said that her father was a German immigrant with whom she did not share a close relationship. While not musicians, her family enjoyed various genres of music.
When Autumn was four years old, she started learning the violin, and later commented: "I remember asking for a violin, but I don't remember knowing what one was. I might have thought it was a kind of pony for all I know, but I don't remember being disappointed." Four years later, Autumn made her musical debut as a solo violinist performing with an orchestra, and won a competition. At the age of nine or ten, she left regular school with the goal of becoming a world-class violinist. On her time at the school, she remarked, "I hated it anyway, what with the status as 'weird,' 'antisocial,' and the physical threats, there seemed to be no reason to go anymore, so I just didn't." She practiced eight or nine hours a day, had lessons, read a wide range of literature, participated in orchestra practice, and was home-schooled. Growing up, she owned a large CD collection of "violin concertos, symphonies, chamber music, opera, and a little jazz". She began writing her own music and poetry at age thirteen or fourteen, though she never planned to sing any of her songs. She studied under various teachers and attended Indiana University in Bloomington, but left after two years there, because she disagreed with the prevailing views on individuality and classical music. She believed that neither the audience nor the original composer would be insulted by the clothing and appearance of the performer.
While convinced that she would only play violin, eighteen-year-old Autumn decided to sing on one of her songs as a way of demonstrating to a major music producer, who wanted to sign her on a label, how it should sound. She became unhappy with the changes done to her songs, and decided to break away from the label and create her own independent record label, Traitor Records. Through it, she debuted with her classical album On a Day: Music for Violin & Continuo, which she recorded in 1997 when she was seventeen years old; its title refers to the fact that the album took only a day to record. It consists of her performing works for the baroque violin accompanied by Roger Lebow on the baroque cello, Edward Murray on harpsichord, and Michael Egan on lute. She considered it "more of a demo despite its length", and released it as "a saleable album" after fans who enjoyed her "rock performances starting asking for a classical album so that they could hear more of the violin." She also debuted with her poetry book Across the Sky & Other Poems in 2000, later re-released in 2005 as Your Sugar Sits Untouched with a music-accompanied audiobook.
2001–04: Enchant and collaborations
As part of a recording project, Autumn traveled to Chicago, Illinois, in 2001, and decided to stay because she enjoyed the public transportation system and music scene there. She released the 2001 EP Chambermaid while finishing Enchant—she alternatively labeled the musical style on Chambermaid as "fantasy rock" and cabaret—and wrote the 2001 charity single "By the Sword" after the events of September 11, 2001. According to her, the song is about strength, not violence; the act of swearing by the sword represents "an unbreakable promise to right a wrong, to stay true".
On February 26, 2003, Autumn released her concept album Enchant, which spanned multiple musical styles: "new-age, pop and trip hop chamber music". Written during her late teenage years, Enchant revolved around the supernatural realm and its effect on the modern-day world. Autumn labeled it as "fantasy rock", which dealt with "dreams and stories and ghosts and faeries who'll bite your head off if you dare to touch them". The faery-themed "Enchant Puzzle" appeared on the artwork of the album; her reward for the person who would solve it consisted of faery-related items. Her bandmates consisted of cellist Joey Harvey, drummer Heath Jansen, guitarist Ben Lehl, and bassist Jimmy Vanaria, who also worked on the electronics. At the same time of Enchants release, Autumn had several side projects: Convent, a musical group for which she recorded all four voices; Ravensong, "a classical baroque ensemble" that she formed with friends in California; and The Jane Brooks Project, which she dedicated to the real-life, 16th-century Jane Brooks—a woman executed for witchcraft.
On the night of the Enchant release party, Autumn learned that Courtney Love had invited her to record an album, America's Sweetheart, and embark on the tour to promote it. Contributing violin and vocals, Autumn appeared in Love's backing band The Chelsea— along with Radio Sloan, Dvin Kirakosian, Samantha Maloney, and Lisa Leveridge—on the 2004 tour. Much of Autumn's violin work was ultimately not released on the album; she commented: "This had to do entirely with new producers taking over the project after our little vacation in France, and carefully discarding all of our sessions." She performed live with Love and The Chelsea on Late Show with David Letterman on March 17, 2004, and at Bowery Ballroom the next day. In September 2004, her father died from lung cancer, even though he had quit smoking twenty years earlier. Near the end of 2004, she was filmed for an appearance on an episode of HGTV's Crafters Coast to Coast, showing viewers how to create faery wings and sushi-styled soap—both products she sold in her online "web design and couture fashion house", WillowTech House. On December 23, 2004, she appeared on the Chicago-based television station WGN as part of the string quartet backing up Billy Corgan and Dennis DeYoung's duet of "We Three Kings".
2005–09: Opheliac, Laced/Unlaced, and A Bit o' This & That
Autumn began work on her concept album Opheliac in August 2004, and recorded it at Mad Villain Studios in Chicago. In August 2005, she created the costumes for Corgan's music video for the track "Walking Shade"; she also contributed violin and vocals for the track "DIA" from his 2005 album TheFutureEmbrace. In late 2005, Autumn also recorded vocals and violin for "The Gates of Eternity" from Attrition's 2008 album All Mine Enemys Whispers: The Story of Mary Ann Cotton, a concept album focusing on the Victorian serial killer Mary Ann Cotton. Autumn later protested the release of the song, claiming that it was unfinished, "altered without her permission", and had been intended only as a possible collaboration with Martin Bowes.
In January 2006, Autumn performed a song from the album, "Misery Loves Company", on WGN, before the album's release by the German label Trisol Music Group in September. She released the limited-edition, preview EP Opheliac through her own label, Traitor Records, in spring 2006; while the Opheliac EPs were being shipped, Autumn claimed that her offices had been robbed, causing the delay in the album release and the shipping of the EPs. According to her, Opheliac "was the documentation of a completely life-changing and life-ending experience". At one time, Autumn did have plans to film a music video for her song "Liar", which included "bloody bathtubs". Her song "Opheliac" later appeared on the 2007 albums 13th Street: The Sound of Mystery, Vol. 3, published by ZYX Music, and Fuck the Mainstream, Vol. 1, published by Alfa Matrix on June 19. On October 9, 2006, she appeared on the Adult Swim cartoon Metalocalypse as a guest artist and on the subsequent 2007 album The Dethalbum. November 2006 saw the release of the EP Liar/Dead Is the New Alive, which featured remixes of songs from Opheliac and new material.
Autumn released her instrumental album, Laced/Unlaced in March 2007; it consisted of two discs: Laced, the re-release of On a Day..., and Unlaced, new songs for the electric violin. She decided to re-release On a Day as Laced because she "felt that it made a nice contrast to the metal shredding fiddle album, "Unlaced", and [...] loved that it was the perfect representation of "then" versus "now". She also performed live at the German musical events Wave Gotik Treffen and M'era Luna Festival in 2007. She later released A Bit o' This & That: a rarities album of her covers, including songs from The Beatles and The Smiths, classical pieces, and her own songs. In 2008, she released the EP 4 o'Clock, which contained remixes of songs from Opheliac, new songs, and a reading from her autobiographical novel The Asylum for Wayward Victorian Girls. She also released another EP, Girls Just Wanna Have Fun &Bohemian Rhapsody, the same year. A year later, Autumn broke away from Trisol Music Group to join The End Records and re-release Opheliac in the United States on October 27, 2009; previously, it was only available there as an import. The re-release included extras such as pictures, bonus tracks, an excerpt from The Asylum for Wayward Victorian Girls, and a video.
In addition to releasing her own material, Autumn collaborated with other musicians. She contributed backing vocals and violin to the track "Dry" by Die Warzau and made an appearance in the band's music video for "Born Again". She played violin on the song "UR A WMN NOW" from OTEP's 2009 album, Smash the Control Machine. Additionally, two of her tracks appeared in film soundtracks: "Organ Grinder" from 4 o'Clock on the European edition of Saw III and a remixed version of "Dead Is The New Alive" from Opheliac on the international version of Saw IV.
2010–present: The Asylum for Wayward Victorian Girls and Fight Like a Girl
Autumn's debut novel, The Asylum for Wayward Victorian Girls, was self-published in late 2009, with a second edition following in 2010. Because of the book's nature and possible autobiographical sections, she claimed its release was delayed because some did not want it published. The book combines Autumn's own real life journal entries, including those chronicling her time in a psych ward, and the diary of a fictional Victorian-era asylum inmate named "Emily". Autumn has said that the intent of the book was to show "there’s very little difference from asylums for ladies in 1841 and the ones for us now," and that the subject of mental illness remains misunderstood.
In June 2010, Autumn released the acronym of her upcoming album, F.L.A.G., on her Twitter account, before revealing the full title as Fight Like a Girl. In her words, the meaning behind the title is "about taking all these things that make women the underdogs and using them to your advantage". Based on her novel, The Asylum for Wayward Victorian Girls, the album has been described as "an operatic feminist treatise set inside an insane asylum, wherein the female inmates gradually realize their own strength in numbers". On August 30, 2010, she announced that she would be undergoing jaw surgery, and had to postpone her North American tour dates while she recovered. In September 2011, she posted the full lyrics to the album's title track, "Fight Like a Girl", on her Twitter account. Autumn appeared at the 2011 Harvest Festival in Australia, and had planned to debut two songs from Fight Like a Girl during those performances. On April 11, 2012, Autumn released the single "Fight Like a Girl", with the song "Time for Tea" appearing as a B-side.
On April 16, 2012, Autumn announced her plans to debut a three-hour musical adaptation of her autobiographical novel on London's West End theatre in 2014. According to her interview with Mulatschag, she has plans to play the roles of both protagonists, Emilie and Emily.
In late 2011, a twelve-minute teaser was released for Darren Lynn Bousman and Terrance Zdunich's project The Devil's Carnival, featuring Autumn as The Painted Doll, her first major acting role. The film was released in April 2012. "Bloody Crumpets" members Beth "The Blessed Contessa" Hinderliter and Maggie "Captain Maggot" Lally also appear in the film as Woe-Maidens.
On June 13, 2012, Autumn announced on her blog the release date of Fight Like a Girl, which was on July 24 of the same year.
In 2013, Autumn produced and starred in her first ever music video, directed by Darren Lynn Bousman, for the song "Fight Like a Girl". Also appearing in the video are Autumn's Devil's Carnival co-stars Dayton Callie and Marc Senter, as well as Veronica Varlow, among others.
In 2014, it was announced that Autumn would be appearing at a handful of dates on the 2014 Vans Warped Tour with an installation called "The Asylum Experience", which will include music, burlesque, circus sideshow attractions and theater.
On September 22, 2018, she released The Asylum for Wayward Victorian Girls: Behind the Musical, an album with songs made for her upcoming musical.
On November 3, 2021, Autumn released the single The Passenger, a cover of the song by Iggy Pop, marking her first official release in three years.
Influences and musical style
Her music encompasses a wide range of styles. Autumn's vocal range is contralto, but also has the ability to perform in the dramatic soprano range. Her vocal work has been compared to Tori Amos, Kate Bush, and The Creatures. She has released two instrumental albums (On a Day... and Laced/Unlaced), and four featuring her vocals: Enchant, Opheliac, A Bit o' This & That, and "Fight Like a Girl". The 2003 album Enchant drew on "new age chamber music, trip hop baroque, and experimental space pop". Autumn layers her voice frequently, and incorporates electronics and electronic effects into her work on Enchant; she also combines strings and piano for some songs, while others feature mainly the piano or violin. The 2006 release Opheliac featured "cabaret, electronic, symphonic, new age, and good ol' rock & roll (and heavy on the theatrical bombast)".
A classically trained musician, Autumn is influenced by plays, novels, and history, particularly the Victorian era. She enjoys the works of Shakespeare, Elizabeth Barrett Browning and husband Robert, and Edgar Allan Poe. She incorporates sounds resembling Victorian machinery such as locomotives, which she noted was "sort of a steampunk thing". While a young Autumn cited Itzhak Perlman as an influence because of the happiness she believed he felt when he played, her main musical influence and inspiration is the English violinist Nigel Kennedy. Her favorite singer is Morrissey from The Smiths. She takes inspiration for her songs from her life experiences and mixes in "layers and layers of references, connections, other stories and metaphors". Autumn has variously described her music and style as "Psychotic Vaudeville Burlesque", "Victoriandustrial'", a term she coined, and glam rock because of her use of glitter onstage. According to Autumn, her music "wasn't meant to be cutesy" and is labeled as "industrial" mainly because of her use of drums and yelling. Her adaption of "O Mistress Mine" was praised by author and theater director
Barry Edelstein as "a ravishing, guaranteed tearjerker".
For her live performances, which she calls dinner theatre because of her practice of throwing tea and tea-time snacks off of the stage, Autumn makes use of burlesque—"a show that was mainly using humour and sexuality to make a mockery of things that were going on socially and politically"—to counterbalance the more morbid topics discussed in her music, such as abuse, suicide and self-mutilation. Her shows feature handmade costumes, fire tricks, theatrics, and her all-female backing band, The Bloody Crumpets, a group whose members have variously included burlesque performer Veronica Varlow as The Naughty Veronica, performance artist Maggie Lally as Captain Maggot, Jill Evyn as Lady Amalthea (or Moth), actress and performer Beth Hinderliter as The Blessed Contessa, actress Aprella Godfrey Barule as Lady Aprella, German musician Lucina as Little Lucina, cellist Sarah Kim as Lady Joo Hee, German costume designer Vecona as Captain Vecona, Jesselynn Desmond as Little Miss Sugarless, and Ulorin Vex. Her intention is for the live shows to be a statement of "anti-repression" and empowerment.
Personal life
She keeps a ritual of drawing a heart on her cheek as a symbol of protection.
Autumn became vegetarian at age eleven after being unable to rationalize why she should eat farm animals but not her pet dog; in her late-teens, she became vegan. She has stated she believes that there is a link between the treatment of women and animals in society. In August 2014, Autumn said she had developed copper toxicity and was no longer vegan, although still a committed vegetarian.
In 2021, Autumn adopted a Toy Manchester Terrier, who she named Darjeeling.
She has endorsed companies such as Manic Panic and Samson Tech.
Autumn has bipolar disorder, which she has discussed in a number of interviews.
Discography
Studio albums
Enchant (2003)
Opheliac (2006)
Fight Like a Girl (2012)
The Asylum for Wayward Victorian Girls: Behind the Musical (2018)
Instrumental albums
On a Day... (2000)
Laced/Unlaced (2007)
Concert tours
The Asylum Tour - 2007
The Plague Tour - 2008
The Gate Tour - 2008-2009
The Key Tour - 2009
The Door Tour - 2011
The Fight Like a Girl Tour - 2011-2012
Bibliography
Across the Sky & Other Poems (2000)
Your Sugar Sits Untouched (2005)
The Asylum for Wayward Victorian Girls (2009)
Filmography
11-11-11 as 11'er in Video (2011) Uncredited
The Devil's Carnival (2012) as Painted Doll
Alleluia! The Devil's Carnival as June / The Painted Doll
Notes
References
External links
Emilie Autumn MetalBlast.net interview, April 17, 2012.
Interview with Emilie Autumn
1979 births
21st-century American poets
21st-century American singers
American contraltos
American electronic musicians
American feminists
American harpsichordists
American industrial musicians
American people of German descent
American rock violinists
American women poets
Dark cabaret musicians
Women rock singers
Feminist musicians
Living people
Metropolis Records artists
Singers from California
Singers from Chicago
People with bipolar disorder
American women in electronic music
Writers from California
Writers from Illinois
21st-century American women singers
Electric violinists
21st-century violinists
Women harpsichordists
Steampunk music
Women in punk
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[
"Ella Christoffersen Ungermann (1891–1921) was a Danish stage actress. While working as a secretary, without any formal training she made her debut in April 1909 in Copenhagen's Odd Fellows Palæet in a semi-private performance of Hønsegaarden. After two years at Odense Teater, she moved back to Copenhagen where she was engaged by the Royal Danish Theatre in 1914. Enjoying considerable success for several years, she committed suicide in September 1921, a few days after playing Leonora in Holberg's Det lykkelige Skibbrud.\n\nEarly life and education\nBorn in Slagelse on 17 February 1891, Ella Christiffersen Ungermann was the daughter of the baker Valdemar Christoffersen (1859–1937) and Marie Christine Ungermann (1868–1941). In October 1918, she married the painter Albert Emil August Schleppegrell Naur (1889–1973). They had no children.\n\nAfter completing her Realskole education in 1907, she took up secretarial work in Copenhagen. Without any formal training in drama, she made her debut on 28 April 1909 in Hønsegaarden in a semi-private performance in Copenhagen's Odd Fellows Palæet. She then went on to perform a variety of tasks in Odense over the next two years, including a role in Schiller's Maria Stuart.\n\n Career \nIn 1911, she returned to Copenhagen, intending to undergo training at the Royal Theatre School. Before she could do so, however, she was engaged by Ivar Schmidt to perform at Det Ny Teater as Dina Dorf in Ibsen's Samfundets Stætter. Other successes in Odense included En Vesterbrodreng and Lovens Arm.\n\nIn 1914, she was engaged by the Royal Theatre to perform the title role in Hadda Padda by the Icelandic dramatist Guðmundur Kamban. Thereafter Ungermann underwent a painful chin operation which successfully cured her lisp. She nevertheless continued to be concerned about her lack of a formal theatrical education, suffering from a serious minority complex. On the stage, however, she performed faultlessly, showing no signs of her concerns. She excelled, for example, in Holger Drachmann's melodrama Vølund Smed.\n\nSuffering not only from a lack of confidence but also from the limited opportunities for performing attractive roles in the early 1920s, when only 30 years of age Ella Ungermann committed suicide on 23 September 1921, just a few days after playing Leonora in Det lykkelige Skibbrud''. She was buried in Søllerød Cemetery.\n\nReferences\n\n1891 births\n1921 deaths\nPeople from Slagelse\nDanish stage actresses\n20th-century Danish actresses\nSuicides in Denmark",
"The Alternative Learning System (ALS) is a parallel learning system in the Philippines that provides a practical option to the existing formal instruction. When one does not have or cannot access formal education in schools, ALS is an alternate or substitute. System only requires learners to attend learning sessions based on the agreed schedule between the learners and the learning facilitators.\n\nThe program has two different schematics for conducting instruction: school-based and community-based. On the school-based program, instructions are conducted in school campuses while in the community-based program, formal instruction are conducted in community halls or on private places. The ALS program follows a uniform lesson modules for all academic subjects covering the sciences, mathematics, English, Filipino, social studies, current events among others. Delivery of instructions are provided by government-paid instructors or by private non-government organization.\n\nAside from schematics, the program has two levels: elementary and secondary. Students have to start from elementary level, then proceed to high school level. If a student is a graduate of elementary under a formal classroom system, the student is automatically admitted to the secondary levels depending on which year level the student stopped schooling.\n\nAdministration\nProgram administration is held by the Department of Education, an agency of the government of the Philippines in charge of providing education to all Filipinos. Private non-government organization may deliver the program but still under the supervision of the Philippine education agency.\n\nLevels\n\nElementary\nIf a learner have not finished his elementary schooling, he/she may be admitted to the program. He/she will have to go through a Functional Literacy Test (FLT) in order for the learning facilitator to identify the level of literacy. Learning modules will be suggested to be them focus relative to the result of their FLT and interest. The learner will then be guided to accomplish an Individual Learning Agreement (ILA). This ILA will be their (learner and facilitator) basis in tracking the progress and competencies developed within the learners.\n\nHigh school\nWhen the learners passed their final exams, the passers may enroll the college, prior to 2013, however from 2014 onwards, the A&E test passers may require to enroll to senior high school in year 2019.\n\nCoverage\nThe program covers mostly dropouts in elementary and secondary schools, out-of-school youths, non-readers, working people and even senior citizens wanting to read and write. Students enrolled under the classroom system are barred from participating in the program. Age level, economic and personal circumstances are among the determinants in availing the program.\n\nIn comparison with formal education\nThe ALS evolved from the non-formal education that has been conducted by the government of the Philippines. Previously, non-formal education was mostly concentrated in instructions in livelihood skills training with basic reading and writing incorporated in the module. Under the current system, skills training and livelihood training have been excluded and established as a separate education system. Skills training had become a stand-alone program with Technical Education and Skills Development Authority (Philippines) taking charge of the program.\n\nThe ALS is a way for the informal and busy students to achieve elementary and high school education without need of going to attend classroom instructions on a daily basis just like the formal education system. Secondary education has now become a prerequisite in vocational technology and college education in the Philippines. Livelihood trainings, however, do not need formal or non-formal education in the Philippines.\n\nSee also\nK–12 (education)\nDepEd TV\nDepartment of Education (Philippines)\nEducation in the Philippines\nDistance e-Learning in the Philippines\n\nReferences\n\nExternal links\n\nRepublic Act No. 9155 (August 11, 2001)\nAlternative Learning System\n\nEducation in the Philippines\nDepartment of Education (Philippines)"
] |
[
"Emilie Autumn",
"Influences and musical style",
"Who were Emilie's main influences?",
"Autumn is influenced by plays, novels, and history, particularly the Victorian era.",
"What was her musical style?",
"Autumn's vocal range is contralto, but also has the ability to perform in the dramatic soprano range. Her vocal work has been compared to Tori Amos, Kate Bush,",
"Did she play any instruments?",
"incorporates electronics and electronic effects into her work on Enchant; she also combines strings and piano for some songs, while others feature mainly the piano or violin.",
"Did she begin singing and playing instruments as a child?",
"I don't know.",
"Does she have any formal musical training?",
"I don't know."
] |
C_70107b3ed2834c31b68f02ba3926052b_0
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What else is interesting about this article?
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Besides the instruments Emilie Autumn played, what else is interesting about this article?
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Emilie Autumn
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Her music encompasses a wide range of styles. Autumn's vocal range is contralto, but also has the ability to perform in the dramatic soprano range. Her vocal work has been compared to Tori Amos, Kate Bush, and The Creatures. She has released two instrumental albums (On a Day... and Laced/Unlaced), and four featuring her vocals: Enchant, Opheliac, A Bit o' This & That, and "Fight Like A Girl". The 2003 album Enchant drew on "new age chamber music, trip hop baroque, and experimental space pop". Autumn layers her voice frequently, and incorporates electronics and electronic effects into her work on Enchant; she also combines strings and piano for some songs, while others feature mainly the piano or violin. The 2006 release Opheliac featured "cabaret, electronic, symphonic, new age, and good ol' rock & roll (and heavy on the theatrical bombast)". A classically trained musician, Autumn is influenced by plays, novels, and history, particularly the Victorian era. She enjoys the works of Shakespeare, Elizabeth Barrett Browning and her husband Robert, and Edgar Allan Poe. She incorporates sounds resembling Victorian machinery such as locomotives, which she noted was "sort of a steampunk thing". While a young Autumn cited Itzhak Perlman as an influence because of the happiness she believed he felt when he played, her main musical influence and inspiration is the English violinist Nigel Kennedy. Her favorite singer is Morrissey from The Smiths. She takes inspiration for her songs from her life experiences and mixes in "layers and layers of references, connections, other stories and metaphors". Autumn describes her music and style as "Psychotic Vaudeville Burlesque". She alternatively labels her music and style as "Victoriandustrial'", a term she coined, and glam rock because of her use of glitter onstage. According to Autumn, her music "wasn't meant to be cutesy" and is labeled as "industrial" mainly because of her use of drums and yelling. Her adaption of "O Mistress Mine" was praised by author and theater director Barry Edelstein as "a ravishing, guaranteed tearjerker". For her live performances, which she calls dinner theatre because of her practice of throwing tea and tea-time snacks offstage, Autumn makes use of burlesque--"a show that was mainly using humour and sexuality to make a mockery of things that were going on socially and politically"--to counterbalance the morbid topics such as abuse and self-mutilation. She incorporates handmade costumes, fire tricks, theatrics, and a female backing band, The Bloody Crumpets: Veronica Varlow, Jill Evyn (Moth), and formerly The Blessed Contessa, Lady Aprella, Little Lucina, Lady Joo Hee, Captain Vecona, Little Miss Sugarless, Mistress Jacinda, and the model Ulorin Vex. Another crumpet, Captain Maggot, has taken a leave. Her wish for the live shows is to be an "anti-repression statement" and empowerment. CANNOTANSWER
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For her live performances, which she calls dinner theatre because of her practice of throwing tea and tea-time snacks offstage, Autumn makes use of burlesque--"
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Emilie Autumn Liddell (born September 22, 1979), better known by her stage name Emilie Autumn, is an American singer-songwriter, poet, author and violinist. Autumn's musical style is described by her as "Fairy Pop", "Fantasy Rock" or "Victoriandustrial". It is influenced by glam rock and from plays, novels, and history, particularly the Victorian era. Performing with her all-female backup dancers The Bloody Crumpets, Autumn incorporates elements of classical music, cabaret, electronica, and glam rock with theatrics, and burlesque.
Growing up in Malibu, California, Autumn began learning the violin at the age of four and left regular school five years later with the goal of becoming a world-class violinist; she practiced eight or nine hours a day and read a wide range of literature. Progressing to writing her own music, she studied under various teachers and went to Indiana University, which she left over issues regarding the relationship between classical music and the appearance of the performer. Through her own independent label Traitor Records, Autumn debuted with her classical album On a Day: Music for Violin & Continuo, followed by the release in 2003 of her album Enchant.
Autumn appeared in singer Courtney Love's backing band on her 2004 America's Sweetheart tour and returned to Europe. She released the 2006 album Opheliac with the German label Trisol Music Group. In 2007, she released Laced/Unlaced; the re-release of On a Day... appeared as Laced with songs on the electric violin as Unlaced. She later left Trisol to join New York based The End Records in 2009 and release Opheliac in the United States, where previously it had only been available as an import. In 2012, she released the album Fight Like a Girl. She played the role of the Painted Doll in Darren Lynn Bousman's 2012 film The Devil's Carnival, as well as its 2015 sequel, Alleluia! The Devil's Carnival.
Life and career
1979–2000: Beginnings
Emilie Autumn was born in Los Angeles, California, on September 22, 1979. Autumn grew up in Malibu, California. She has stated that "being surrounded by nature and sea had a lot to do with [her] development as a 'free spirit.'" Her mother worked as a seamstress, and she has said that her father was a German immigrant with whom she did not share a close relationship. While not musicians, her family enjoyed various genres of music.
When Autumn was four years old, she started learning the violin, and later commented: "I remember asking for a violin, but I don't remember knowing what one was. I might have thought it was a kind of pony for all I know, but I don't remember being disappointed." Four years later, Autumn made her musical debut as a solo violinist performing with an orchestra, and won a competition. At the age of nine or ten, she left regular school with the goal of becoming a world-class violinist. On her time at the school, she remarked, "I hated it anyway, what with the status as 'weird,' 'antisocial,' and the physical threats, there seemed to be no reason to go anymore, so I just didn't." She practiced eight or nine hours a day, had lessons, read a wide range of literature, participated in orchestra practice, and was home-schooled. Growing up, she owned a large CD collection of "violin concertos, symphonies, chamber music, opera, and a little jazz". She began writing her own music and poetry at age thirteen or fourteen, though she never planned to sing any of her songs. She studied under various teachers and attended Indiana University in Bloomington, but left after two years there, because she disagreed with the prevailing views on individuality and classical music. She believed that neither the audience nor the original composer would be insulted by the clothing and appearance of the performer.
While convinced that she would only play violin, eighteen-year-old Autumn decided to sing on one of her songs as a way of demonstrating to a major music producer, who wanted to sign her on a label, how it should sound. She became unhappy with the changes done to her songs, and decided to break away from the label and create her own independent record label, Traitor Records. Through it, she debuted with her classical album On a Day: Music for Violin & Continuo, which she recorded in 1997 when she was seventeen years old; its title refers to the fact that the album took only a day to record. It consists of her performing works for the baroque violin accompanied by Roger Lebow on the baroque cello, Edward Murray on harpsichord, and Michael Egan on lute. She considered it "more of a demo despite its length", and released it as "a saleable album" after fans who enjoyed her "rock performances starting asking for a classical album so that they could hear more of the violin." She also debuted with her poetry book Across the Sky & Other Poems in 2000, later re-released in 2005 as Your Sugar Sits Untouched with a music-accompanied audiobook.
2001–04: Enchant and collaborations
As part of a recording project, Autumn traveled to Chicago, Illinois, in 2001, and decided to stay because she enjoyed the public transportation system and music scene there. She released the 2001 EP Chambermaid while finishing Enchant—she alternatively labeled the musical style on Chambermaid as "fantasy rock" and cabaret—and wrote the 2001 charity single "By the Sword" after the events of September 11, 2001. According to her, the song is about strength, not violence; the act of swearing by the sword represents "an unbreakable promise to right a wrong, to stay true".
On February 26, 2003, Autumn released her concept album Enchant, which spanned multiple musical styles: "new-age, pop and trip hop chamber music". Written during her late teenage years, Enchant revolved around the supernatural realm and its effect on the modern-day world. Autumn labeled it as "fantasy rock", which dealt with "dreams and stories and ghosts and faeries who'll bite your head off if you dare to touch them". The faery-themed "Enchant Puzzle" appeared on the artwork of the album; her reward for the person who would solve it consisted of faery-related items. Her bandmates consisted of cellist Joey Harvey, drummer Heath Jansen, guitarist Ben Lehl, and bassist Jimmy Vanaria, who also worked on the electronics. At the same time of Enchants release, Autumn had several side projects: Convent, a musical group for which she recorded all four voices; Ravensong, "a classical baroque ensemble" that she formed with friends in California; and The Jane Brooks Project, which she dedicated to the real-life, 16th-century Jane Brooks—a woman executed for witchcraft.
On the night of the Enchant release party, Autumn learned that Courtney Love had invited her to record an album, America's Sweetheart, and embark on the tour to promote it. Contributing violin and vocals, Autumn appeared in Love's backing band The Chelsea— along with Radio Sloan, Dvin Kirakosian, Samantha Maloney, and Lisa Leveridge—on the 2004 tour. Much of Autumn's violin work was ultimately not released on the album; she commented: "This had to do entirely with new producers taking over the project after our little vacation in France, and carefully discarding all of our sessions." She performed live with Love and The Chelsea on Late Show with David Letterman on March 17, 2004, and at Bowery Ballroom the next day. In September 2004, her father died from lung cancer, even though he had quit smoking twenty years earlier. Near the end of 2004, she was filmed for an appearance on an episode of HGTV's Crafters Coast to Coast, showing viewers how to create faery wings and sushi-styled soap—both products she sold in her online "web design and couture fashion house", WillowTech House. On December 23, 2004, she appeared on the Chicago-based television station WGN as part of the string quartet backing up Billy Corgan and Dennis DeYoung's duet of "We Three Kings".
2005–09: Opheliac, Laced/Unlaced, and A Bit o' This & That
Autumn began work on her concept album Opheliac in August 2004, and recorded it at Mad Villain Studios in Chicago. In August 2005, she created the costumes for Corgan's music video for the track "Walking Shade"; she also contributed violin and vocals for the track "DIA" from his 2005 album TheFutureEmbrace. In late 2005, Autumn also recorded vocals and violin for "The Gates of Eternity" from Attrition's 2008 album All Mine Enemys Whispers: The Story of Mary Ann Cotton, a concept album focusing on the Victorian serial killer Mary Ann Cotton. Autumn later protested the release of the song, claiming that it was unfinished, "altered without her permission", and had been intended only as a possible collaboration with Martin Bowes.
In January 2006, Autumn performed a song from the album, "Misery Loves Company", on WGN, before the album's release by the German label Trisol Music Group in September. She released the limited-edition, preview EP Opheliac through her own label, Traitor Records, in spring 2006; while the Opheliac EPs were being shipped, Autumn claimed that her offices had been robbed, causing the delay in the album release and the shipping of the EPs. According to her, Opheliac "was the documentation of a completely life-changing and life-ending experience". At one time, Autumn did have plans to film a music video for her song "Liar", which included "bloody bathtubs". Her song "Opheliac" later appeared on the 2007 albums 13th Street: The Sound of Mystery, Vol. 3, published by ZYX Music, and Fuck the Mainstream, Vol. 1, published by Alfa Matrix on June 19. On October 9, 2006, she appeared on the Adult Swim cartoon Metalocalypse as a guest artist and on the subsequent 2007 album The Dethalbum. November 2006 saw the release of the EP Liar/Dead Is the New Alive, which featured remixes of songs from Opheliac and new material.
Autumn released her instrumental album, Laced/Unlaced in March 2007; it consisted of two discs: Laced, the re-release of On a Day..., and Unlaced, new songs for the electric violin. She decided to re-release On a Day as Laced because she "felt that it made a nice contrast to the metal shredding fiddle album, "Unlaced", and [...] loved that it was the perfect representation of "then" versus "now". She also performed live at the German musical events Wave Gotik Treffen and M'era Luna Festival in 2007. She later released A Bit o' This & That: a rarities album of her covers, including songs from The Beatles and The Smiths, classical pieces, and her own songs. In 2008, she released the EP 4 o'Clock, which contained remixes of songs from Opheliac, new songs, and a reading from her autobiographical novel The Asylum for Wayward Victorian Girls. She also released another EP, Girls Just Wanna Have Fun &Bohemian Rhapsody, the same year. A year later, Autumn broke away from Trisol Music Group to join The End Records and re-release Opheliac in the United States on October 27, 2009; previously, it was only available there as an import. The re-release included extras such as pictures, bonus tracks, an excerpt from The Asylum for Wayward Victorian Girls, and a video.
In addition to releasing her own material, Autumn collaborated with other musicians. She contributed backing vocals and violin to the track "Dry" by Die Warzau and made an appearance in the band's music video for "Born Again". She played violin on the song "UR A WMN NOW" from OTEP's 2009 album, Smash the Control Machine. Additionally, two of her tracks appeared in film soundtracks: "Organ Grinder" from 4 o'Clock on the European edition of Saw III and a remixed version of "Dead Is The New Alive" from Opheliac on the international version of Saw IV.
2010–present: The Asylum for Wayward Victorian Girls and Fight Like a Girl
Autumn's debut novel, The Asylum for Wayward Victorian Girls, was self-published in late 2009, with a second edition following in 2010. Because of the book's nature and possible autobiographical sections, she claimed its release was delayed because some did not want it published. The book combines Autumn's own real life journal entries, including those chronicling her time in a psych ward, and the diary of a fictional Victorian-era asylum inmate named "Emily". Autumn has said that the intent of the book was to show "there’s very little difference from asylums for ladies in 1841 and the ones for us now," and that the subject of mental illness remains misunderstood.
In June 2010, Autumn released the acronym of her upcoming album, F.L.A.G., on her Twitter account, before revealing the full title as Fight Like a Girl. In her words, the meaning behind the title is "about taking all these things that make women the underdogs and using them to your advantage". Based on her novel, The Asylum for Wayward Victorian Girls, the album has been described as "an operatic feminist treatise set inside an insane asylum, wherein the female inmates gradually realize their own strength in numbers". On August 30, 2010, she announced that she would be undergoing jaw surgery, and had to postpone her North American tour dates while she recovered. In September 2011, she posted the full lyrics to the album's title track, "Fight Like a Girl", on her Twitter account. Autumn appeared at the 2011 Harvest Festival in Australia, and had planned to debut two songs from Fight Like a Girl during those performances. On April 11, 2012, Autumn released the single "Fight Like a Girl", with the song "Time for Tea" appearing as a B-side.
On April 16, 2012, Autumn announced her plans to debut a three-hour musical adaptation of her autobiographical novel on London's West End theatre in 2014. According to her interview with Mulatschag, she has plans to play the roles of both protagonists, Emilie and Emily.
In late 2011, a twelve-minute teaser was released for Darren Lynn Bousman and Terrance Zdunich's project The Devil's Carnival, featuring Autumn as The Painted Doll, her first major acting role. The film was released in April 2012. "Bloody Crumpets" members Beth "The Blessed Contessa" Hinderliter and Maggie "Captain Maggot" Lally also appear in the film as Woe-Maidens.
On June 13, 2012, Autumn announced on her blog the release date of Fight Like a Girl, which was on July 24 of the same year.
In 2013, Autumn produced and starred in her first ever music video, directed by Darren Lynn Bousman, for the song "Fight Like a Girl". Also appearing in the video are Autumn's Devil's Carnival co-stars Dayton Callie and Marc Senter, as well as Veronica Varlow, among others.
In 2014, it was announced that Autumn would be appearing at a handful of dates on the 2014 Vans Warped Tour with an installation called "The Asylum Experience", which will include music, burlesque, circus sideshow attractions and theater.
On September 22, 2018, she released The Asylum for Wayward Victorian Girls: Behind the Musical, an album with songs made for her upcoming musical.
On November 3, 2021, Autumn released the single The Passenger, a cover of the song by Iggy Pop, marking her first official release in three years.
Influences and musical style
Her music encompasses a wide range of styles. Autumn's vocal range is contralto, but also has the ability to perform in the dramatic soprano range. Her vocal work has been compared to Tori Amos, Kate Bush, and The Creatures. She has released two instrumental albums (On a Day... and Laced/Unlaced), and four featuring her vocals: Enchant, Opheliac, A Bit o' This & That, and "Fight Like a Girl". The 2003 album Enchant drew on "new age chamber music, trip hop baroque, and experimental space pop". Autumn layers her voice frequently, and incorporates electronics and electronic effects into her work on Enchant; she also combines strings and piano for some songs, while others feature mainly the piano or violin. The 2006 release Opheliac featured "cabaret, electronic, symphonic, new age, and good ol' rock & roll (and heavy on the theatrical bombast)".
A classically trained musician, Autumn is influenced by plays, novels, and history, particularly the Victorian era. She enjoys the works of Shakespeare, Elizabeth Barrett Browning and husband Robert, and Edgar Allan Poe. She incorporates sounds resembling Victorian machinery such as locomotives, which she noted was "sort of a steampunk thing". While a young Autumn cited Itzhak Perlman as an influence because of the happiness she believed he felt when he played, her main musical influence and inspiration is the English violinist Nigel Kennedy. Her favorite singer is Morrissey from The Smiths. She takes inspiration for her songs from her life experiences and mixes in "layers and layers of references, connections, other stories and metaphors". Autumn has variously described her music and style as "Psychotic Vaudeville Burlesque", "Victoriandustrial'", a term she coined, and glam rock because of her use of glitter onstage. According to Autumn, her music "wasn't meant to be cutesy" and is labeled as "industrial" mainly because of her use of drums and yelling. Her adaption of "O Mistress Mine" was praised by author and theater director
Barry Edelstein as "a ravishing, guaranteed tearjerker".
For her live performances, which she calls dinner theatre because of her practice of throwing tea and tea-time snacks off of the stage, Autumn makes use of burlesque—"a show that was mainly using humour and sexuality to make a mockery of things that were going on socially and politically"—to counterbalance the more morbid topics discussed in her music, such as abuse, suicide and self-mutilation. Her shows feature handmade costumes, fire tricks, theatrics, and her all-female backing band, The Bloody Crumpets, a group whose members have variously included burlesque performer Veronica Varlow as The Naughty Veronica, performance artist Maggie Lally as Captain Maggot, Jill Evyn as Lady Amalthea (or Moth), actress and performer Beth Hinderliter as The Blessed Contessa, actress Aprella Godfrey Barule as Lady Aprella, German musician Lucina as Little Lucina, cellist Sarah Kim as Lady Joo Hee, German costume designer Vecona as Captain Vecona, Jesselynn Desmond as Little Miss Sugarless, and Ulorin Vex. Her intention is for the live shows to be a statement of "anti-repression" and empowerment.
Personal life
She keeps a ritual of drawing a heart on her cheek as a symbol of protection.
Autumn became vegetarian at age eleven after being unable to rationalize why she should eat farm animals but not her pet dog; in her late-teens, she became vegan. She has stated she believes that there is a link between the treatment of women and animals in society. In August 2014, Autumn said she had developed copper toxicity and was no longer vegan, although still a committed vegetarian.
In 2021, Autumn adopted a Toy Manchester Terrier, who she named Darjeeling.
She has endorsed companies such as Manic Panic and Samson Tech.
Autumn has bipolar disorder, which she has discussed in a number of interviews.
Discography
Studio albums
Enchant (2003)
Opheliac (2006)
Fight Like a Girl (2012)
The Asylum for Wayward Victorian Girls: Behind the Musical (2018)
Instrumental albums
On a Day... (2000)
Laced/Unlaced (2007)
Concert tours
The Asylum Tour - 2007
The Plague Tour - 2008
The Gate Tour - 2008-2009
The Key Tour - 2009
The Door Tour - 2011
The Fight Like a Girl Tour - 2011-2012
Bibliography
Across the Sky & Other Poems (2000)
Your Sugar Sits Untouched (2005)
The Asylum for Wayward Victorian Girls (2009)
Filmography
11-11-11 as 11'er in Video (2011) Uncredited
The Devil's Carnival (2012) as Painted Doll
Alleluia! The Devil's Carnival as June / The Painted Doll
Notes
References
External links
Emilie Autumn MetalBlast.net interview, April 17, 2012.
Interview with Emilie Autumn
1979 births
21st-century American poets
21st-century American singers
American contraltos
American electronic musicians
American feminists
American harpsichordists
American industrial musicians
American people of German descent
American rock violinists
American women poets
Dark cabaret musicians
Women rock singers
Feminist musicians
Living people
Metropolis Records artists
Singers from California
Singers from Chicago
People with bipolar disorder
American women in electronic music
Writers from California
Writers from Illinois
21st-century American women singers
Electric violinists
21st-century violinists
Women harpsichordists
Steampunk music
Women in punk
| false |
[
"Přírodní park Třebíčsko (before Oblast klidu Třebíčsko) is a natural park near Třebíč in the Czech Republic. There are many interesting plants. The park was founded in 1983.\n\nKobylinec and Ptáčovský kopeček\n\nKobylinec is a natural monument situated ca 0,5 km from the village of Trnava.\nThe area of this monument is 0,44 ha. Pulsatilla grandis can be found here and in the Ptáčovský kopeček park near Ptáčov near Třebíč. Both monuments are very popular for tourists.\n\nPonds\n\nIn the natural park there are some interesting ponds such as Velký Bor, Malý Bor, Buršík near Přeckov and a brook Březinka. Dams on the brook are examples of European beaver activity.\n\nSyenitové skály near Pocoucov\n\nSyenitové skály (rocks of syenit) near Pocoucov is one of famed locations. There are interesting granite boulders. The area of the reservation is 0,77 ha.\n\nExternal links\nParts of this article or all article was translated from Czech. The original article is :cs:Přírodní park Třebíčsko.\n\nReferences\n\nExternal links\nNature near the village Trnava which is there\n\nTřebíč\nParks in the Czech Republic\nTourist attractions in the Vysočina Region",
"\"What Else Is There?\" is the third single from the Norwegian duo Röyksopp's second album The Understanding. It features the vocals of Karin Dreijer from the Swedish electronica duo The Knife. The album was released in the UK with the help of Astralwerks.\n\nThe single was used in an O2 television advertisement in the Czech Republic and in Slovakia during 2008. It was also used in the 2006 film Cashback and the 2007 film, Meet Bill. Trentemøller's remix of \"What Else is There?\" was featured in an episode of the HBO show Entourage.\n\nThe song was covered by extreme metal band Enslaved as a bonus track for their album E.\n\nThe song was listed as the 375th best song of the 2000s by Pitchfork Media.\n\nOfficial versions\n\"What Else Is There?\" (Album Version) – 5:17\n\"What Else Is There?\" (Radio Edit) – 3:38\n\"What Else Is There?\" (Jacques Lu Cont Radio Mix) – 3:46\n\"What Else Is There?\" (The Emperor Machine Vocal Version) – 8:03\n\"What Else Is There?\" (The Emperor Machine Dub Version) – 7:51\n\"What Else Is There?\" (Thin White Duke Mix) – 8:25\n\"What Else Is There?\" (Thin White Duke Edit) – 4:50\n\"What Else Is There?\" (Thin White Duke Remix) (Radio Edit) – 3:06\n\"What Else Is There?\" (Trentemøller Remix) – 7:42\n\"What Else Is There?\" (Vitalic Remix) – 5:14\n\nResponse\nThe single was officially released on 5 December 2005 in the UK. The single had a limited release on 21 November 2005 to promote the upcoming album. On the UK Singles Chart, it peaked at number 32, while on the UK Dance Chart, it reached number one.\n\nMusic video\nThe music video was directed by Martin de Thurah. It features Norwegian model Marianne Schröder who is shown lip-syncing Dreijer's voice. Schröder is depicted as a floating woman traveling across stormy landscapes and within empty houses. Dreijer makes a cameo appearance as a woman wearing an Elizabethan ruff while dining alone at a festive table.\n\nMovie spots\n\nThe song is also featured in the movie Meet Bill as characters played by Jessica Alba and Aaron Eckhart smoke marijuana while listening to it. It is also part of the end credits music of the film Cashback.\n\nCharts\n\nReferences\n\n2005 singles\nRöyksopp songs\nAstralwerks singles\nSongs written by Svein Berge\nSongs written by Torbjørn Brundtland\n2004 songs\nSongs written by Roger Greenaway\nSongs written by Olof Dreijer\nSongs written by Karin Dreijer"
] |
[
"Emilie Autumn",
"Influences and musical style",
"Who were Emilie's main influences?",
"Autumn is influenced by plays, novels, and history, particularly the Victorian era.",
"What was her musical style?",
"Autumn's vocal range is contralto, but also has the ability to perform in the dramatic soprano range. Her vocal work has been compared to Tori Amos, Kate Bush,",
"Did she play any instruments?",
"incorporates electronics and electronic effects into her work on Enchant; she also combines strings and piano for some songs, while others feature mainly the piano or violin.",
"Did she begin singing and playing instruments as a child?",
"I don't know.",
"Does she have any formal musical training?",
"I don't know.",
"What else is interesting about this article?",
"For her live performances, which she calls dinner theatre because of her practice of throwing tea and tea-time snacks offstage, Autumn makes use of burlesque--\""
] |
C_70107b3ed2834c31b68f02ba3926052b_0
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Where did she perform?
| 7 |
Where did Emilie Autumn perform music?
|
Emilie Autumn
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Her music encompasses a wide range of styles. Autumn's vocal range is contralto, but also has the ability to perform in the dramatic soprano range. Her vocal work has been compared to Tori Amos, Kate Bush, and The Creatures. She has released two instrumental albums (On a Day... and Laced/Unlaced), and four featuring her vocals: Enchant, Opheliac, A Bit o' This & That, and "Fight Like A Girl". The 2003 album Enchant drew on "new age chamber music, trip hop baroque, and experimental space pop". Autumn layers her voice frequently, and incorporates electronics and electronic effects into her work on Enchant; she also combines strings and piano for some songs, while others feature mainly the piano or violin. The 2006 release Opheliac featured "cabaret, electronic, symphonic, new age, and good ol' rock & roll (and heavy on the theatrical bombast)". A classically trained musician, Autumn is influenced by plays, novels, and history, particularly the Victorian era. She enjoys the works of Shakespeare, Elizabeth Barrett Browning and her husband Robert, and Edgar Allan Poe. She incorporates sounds resembling Victorian machinery such as locomotives, which she noted was "sort of a steampunk thing". While a young Autumn cited Itzhak Perlman as an influence because of the happiness she believed he felt when he played, her main musical influence and inspiration is the English violinist Nigel Kennedy. Her favorite singer is Morrissey from The Smiths. She takes inspiration for her songs from her life experiences and mixes in "layers and layers of references, connections, other stories and metaphors". Autumn describes her music and style as "Psychotic Vaudeville Burlesque". She alternatively labels her music and style as "Victoriandustrial'", a term she coined, and glam rock because of her use of glitter onstage. According to Autumn, her music "wasn't meant to be cutesy" and is labeled as "industrial" mainly because of her use of drums and yelling. Her adaption of "O Mistress Mine" was praised by author and theater director Barry Edelstein as "a ravishing, guaranteed tearjerker". For her live performances, which she calls dinner theatre because of her practice of throwing tea and tea-time snacks offstage, Autumn makes use of burlesque--"a show that was mainly using humour and sexuality to make a mockery of things that were going on socially and politically"--to counterbalance the morbid topics such as abuse and self-mutilation. She incorporates handmade costumes, fire tricks, theatrics, and a female backing band, The Bloody Crumpets: Veronica Varlow, Jill Evyn (Moth), and formerly The Blessed Contessa, Lady Aprella, Little Lucina, Lady Joo Hee, Captain Vecona, Little Miss Sugarless, Mistress Jacinda, and the model Ulorin Vex. Another crumpet, Captain Maggot, has taken a leave. Her wish for the live shows is to be an "anti-repression statement" and empowerment. CANNOTANSWER
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theater
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Emilie Autumn Liddell (born September 22, 1979), better known by her stage name Emilie Autumn, is an American singer-songwriter, poet, author and violinist. Autumn's musical style is described by her as "Fairy Pop", "Fantasy Rock" or "Victoriandustrial". It is influenced by glam rock and from plays, novels, and history, particularly the Victorian era. Performing with her all-female backup dancers The Bloody Crumpets, Autumn incorporates elements of classical music, cabaret, electronica, and glam rock with theatrics, and burlesque.
Growing up in Malibu, California, Autumn began learning the violin at the age of four and left regular school five years later with the goal of becoming a world-class violinist; she practiced eight or nine hours a day and read a wide range of literature. Progressing to writing her own music, she studied under various teachers and went to Indiana University, which she left over issues regarding the relationship between classical music and the appearance of the performer. Through her own independent label Traitor Records, Autumn debuted with her classical album On a Day: Music for Violin & Continuo, followed by the release in 2003 of her album Enchant.
Autumn appeared in singer Courtney Love's backing band on her 2004 America's Sweetheart tour and returned to Europe. She released the 2006 album Opheliac with the German label Trisol Music Group. In 2007, she released Laced/Unlaced; the re-release of On a Day... appeared as Laced with songs on the electric violin as Unlaced. She later left Trisol to join New York based The End Records in 2009 and release Opheliac in the United States, where previously it had only been available as an import. In 2012, she released the album Fight Like a Girl. She played the role of the Painted Doll in Darren Lynn Bousman's 2012 film The Devil's Carnival, as well as its 2015 sequel, Alleluia! The Devil's Carnival.
Life and career
1979–2000: Beginnings
Emilie Autumn was born in Los Angeles, California, on September 22, 1979. Autumn grew up in Malibu, California. She has stated that "being surrounded by nature and sea had a lot to do with [her] development as a 'free spirit.'" Her mother worked as a seamstress, and she has said that her father was a German immigrant with whom she did not share a close relationship. While not musicians, her family enjoyed various genres of music.
When Autumn was four years old, she started learning the violin, and later commented: "I remember asking for a violin, but I don't remember knowing what one was. I might have thought it was a kind of pony for all I know, but I don't remember being disappointed." Four years later, Autumn made her musical debut as a solo violinist performing with an orchestra, and won a competition. At the age of nine or ten, she left regular school with the goal of becoming a world-class violinist. On her time at the school, she remarked, "I hated it anyway, what with the status as 'weird,' 'antisocial,' and the physical threats, there seemed to be no reason to go anymore, so I just didn't." She practiced eight or nine hours a day, had lessons, read a wide range of literature, participated in orchestra practice, and was home-schooled. Growing up, she owned a large CD collection of "violin concertos, symphonies, chamber music, opera, and a little jazz". She began writing her own music and poetry at age thirteen or fourteen, though she never planned to sing any of her songs. She studied under various teachers and attended Indiana University in Bloomington, but left after two years there, because she disagreed with the prevailing views on individuality and classical music. She believed that neither the audience nor the original composer would be insulted by the clothing and appearance of the performer.
While convinced that she would only play violin, eighteen-year-old Autumn decided to sing on one of her songs as a way of demonstrating to a major music producer, who wanted to sign her on a label, how it should sound. She became unhappy with the changes done to her songs, and decided to break away from the label and create her own independent record label, Traitor Records. Through it, she debuted with her classical album On a Day: Music for Violin & Continuo, which she recorded in 1997 when she was seventeen years old; its title refers to the fact that the album took only a day to record. It consists of her performing works for the baroque violin accompanied by Roger Lebow on the baroque cello, Edward Murray on harpsichord, and Michael Egan on lute. She considered it "more of a demo despite its length", and released it as "a saleable album" after fans who enjoyed her "rock performances starting asking for a classical album so that they could hear more of the violin." She also debuted with her poetry book Across the Sky & Other Poems in 2000, later re-released in 2005 as Your Sugar Sits Untouched with a music-accompanied audiobook.
2001–04: Enchant and collaborations
As part of a recording project, Autumn traveled to Chicago, Illinois, in 2001, and decided to stay because she enjoyed the public transportation system and music scene there. She released the 2001 EP Chambermaid while finishing Enchant—she alternatively labeled the musical style on Chambermaid as "fantasy rock" and cabaret—and wrote the 2001 charity single "By the Sword" after the events of September 11, 2001. According to her, the song is about strength, not violence; the act of swearing by the sword represents "an unbreakable promise to right a wrong, to stay true".
On February 26, 2003, Autumn released her concept album Enchant, which spanned multiple musical styles: "new-age, pop and trip hop chamber music". Written during her late teenage years, Enchant revolved around the supernatural realm and its effect on the modern-day world. Autumn labeled it as "fantasy rock", which dealt with "dreams and stories and ghosts and faeries who'll bite your head off if you dare to touch them". The faery-themed "Enchant Puzzle" appeared on the artwork of the album; her reward for the person who would solve it consisted of faery-related items. Her bandmates consisted of cellist Joey Harvey, drummer Heath Jansen, guitarist Ben Lehl, and bassist Jimmy Vanaria, who also worked on the electronics. At the same time of Enchants release, Autumn had several side projects: Convent, a musical group for which she recorded all four voices; Ravensong, "a classical baroque ensemble" that she formed with friends in California; and The Jane Brooks Project, which she dedicated to the real-life, 16th-century Jane Brooks—a woman executed for witchcraft.
On the night of the Enchant release party, Autumn learned that Courtney Love had invited her to record an album, America's Sweetheart, and embark on the tour to promote it. Contributing violin and vocals, Autumn appeared in Love's backing band The Chelsea— along with Radio Sloan, Dvin Kirakosian, Samantha Maloney, and Lisa Leveridge—on the 2004 tour. Much of Autumn's violin work was ultimately not released on the album; she commented: "This had to do entirely with new producers taking over the project after our little vacation in France, and carefully discarding all of our sessions." She performed live with Love and The Chelsea on Late Show with David Letterman on March 17, 2004, and at Bowery Ballroom the next day. In September 2004, her father died from lung cancer, even though he had quit smoking twenty years earlier. Near the end of 2004, she was filmed for an appearance on an episode of HGTV's Crafters Coast to Coast, showing viewers how to create faery wings and sushi-styled soap—both products she sold in her online "web design and couture fashion house", WillowTech House. On December 23, 2004, she appeared on the Chicago-based television station WGN as part of the string quartet backing up Billy Corgan and Dennis DeYoung's duet of "We Three Kings".
2005–09: Opheliac, Laced/Unlaced, and A Bit o' This & That
Autumn began work on her concept album Opheliac in August 2004, and recorded it at Mad Villain Studios in Chicago. In August 2005, she created the costumes for Corgan's music video for the track "Walking Shade"; she also contributed violin and vocals for the track "DIA" from his 2005 album TheFutureEmbrace. In late 2005, Autumn also recorded vocals and violin for "The Gates of Eternity" from Attrition's 2008 album All Mine Enemys Whispers: The Story of Mary Ann Cotton, a concept album focusing on the Victorian serial killer Mary Ann Cotton. Autumn later protested the release of the song, claiming that it was unfinished, "altered without her permission", and had been intended only as a possible collaboration with Martin Bowes.
In January 2006, Autumn performed a song from the album, "Misery Loves Company", on WGN, before the album's release by the German label Trisol Music Group in September. She released the limited-edition, preview EP Opheliac through her own label, Traitor Records, in spring 2006; while the Opheliac EPs were being shipped, Autumn claimed that her offices had been robbed, causing the delay in the album release and the shipping of the EPs. According to her, Opheliac "was the documentation of a completely life-changing and life-ending experience". At one time, Autumn did have plans to film a music video for her song "Liar", which included "bloody bathtubs". Her song "Opheliac" later appeared on the 2007 albums 13th Street: The Sound of Mystery, Vol. 3, published by ZYX Music, and Fuck the Mainstream, Vol. 1, published by Alfa Matrix on June 19. On October 9, 2006, she appeared on the Adult Swim cartoon Metalocalypse as a guest artist and on the subsequent 2007 album The Dethalbum. November 2006 saw the release of the EP Liar/Dead Is the New Alive, which featured remixes of songs from Opheliac and new material.
Autumn released her instrumental album, Laced/Unlaced in March 2007; it consisted of two discs: Laced, the re-release of On a Day..., and Unlaced, new songs for the electric violin. She decided to re-release On a Day as Laced because she "felt that it made a nice contrast to the metal shredding fiddle album, "Unlaced", and [...] loved that it was the perfect representation of "then" versus "now". She also performed live at the German musical events Wave Gotik Treffen and M'era Luna Festival in 2007. She later released A Bit o' This & That: a rarities album of her covers, including songs from The Beatles and The Smiths, classical pieces, and her own songs. In 2008, she released the EP 4 o'Clock, which contained remixes of songs from Opheliac, new songs, and a reading from her autobiographical novel The Asylum for Wayward Victorian Girls. She also released another EP, Girls Just Wanna Have Fun &Bohemian Rhapsody, the same year. A year later, Autumn broke away from Trisol Music Group to join The End Records and re-release Opheliac in the United States on October 27, 2009; previously, it was only available there as an import. The re-release included extras such as pictures, bonus tracks, an excerpt from The Asylum for Wayward Victorian Girls, and a video.
In addition to releasing her own material, Autumn collaborated with other musicians. She contributed backing vocals and violin to the track "Dry" by Die Warzau and made an appearance in the band's music video for "Born Again". She played violin on the song "UR A WMN NOW" from OTEP's 2009 album, Smash the Control Machine. Additionally, two of her tracks appeared in film soundtracks: "Organ Grinder" from 4 o'Clock on the European edition of Saw III and a remixed version of "Dead Is The New Alive" from Opheliac on the international version of Saw IV.
2010–present: The Asylum for Wayward Victorian Girls and Fight Like a Girl
Autumn's debut novel, The Asylum for Wayward Victorian Girls, was self-published in late 2009, with a second edition following in 2010. Because of the book's nature and possible autobiographical sections, she claimed its release was delayed because some did not want it published. The book combines Autumn's own real life journal entries, including those chronicling her time in a psych ward, and the diary of a fictional Victorian-era asylum inmate named "Emily". Autumn has said that the intent of the book was to show "there’s very little difference from asylums for ladies in 1841 and the ones for us now," and that the subject of mental illness remains misunderstood.
In June 2010, Autumn released the acronym of her upcoming album, F.L.A.G., on her Twitter account, before revealing the full title as Fight Like a Girl. In her words, the meaning behind the title is "about taking all these things that make women the underdogs and using them to your advantage". Based on her novel, The Asylum for Wayward Victorian Girls, the album has been described as "an operatic feminist treatise set inside an insane asylum, wherein the female inmates gradually realize their own strength in numbers". On August 30, 2010, she announced that she would be undergoing jaw surgery, and had to postpone her North American tour dates while she recovered. In September 2011, she posted the full lyrics to the album's title track, "Fight Like a Girl", on her Twitter account. Autumn appeared at the 2011 Harvest Festival in Australia, and had planned to debut two songs from Fight Like a Girl during those performances. On April 11, 2012, Autumn released the single "Fight Like a Girl", with the song "Time for Tea" appearing as a B-side.
On April 16, 2012, Autumn announced her plans to debut a three-hour musical adaptation of her autobiographical novel on London's West End theatre in 2014. According to her interview with Mulatschag, she has plans to play the roles of both protagonists, Emilie and Emily.
In late 2011, a twelve-minute teaser was released for Darren Lynn Bousman and Terrance Zdunich's project The Devil's Carnival, featuring Autumn as The Painted Doll, her first major acting role. The film was released in April 2012. "Bloody Crumpets" members Beth "The Blessed Contessa" Hinderliter and Maggie "Captain Maggot" Lally also appear in the film as Woe-Maidens.
On June 13, 2012, Autumn announced on her blog the release date of Fight Like a Girl, which was on July 24 of the same year.
In 2013, Autumn produced and starred in her first ever music video, directed by Darren Lynn Bousman, for the song "Fight Like a Girl". Also appearing in the video are Autumn's Devil's Carnival co-stars Dayton Callie and Marc Senter, as well as Veronica Varlow, among others.
In 2014, it was announced that Autumn would be appearing at a handful of dates on the 2014 Vans Warped Tour with an installation called "The Asylum Experience", which will include music, burlesque, circus sideshow attractions and theater.
On September 22, 2018, she released The Asylum for Wayward Victorian Girls: Behind the Musical, an album with songs made for her upcoming musical.
On November 3, 2021, Autumn released the single The Passenger, a cover of the song by Iggy Pop, marking her first official release in three years.
Influences and musical style
Her music encompasses a wide range of styles. Autumn's vocal range is contralto, but also has the ability to perform in the dramatic soprano range. Her vocal work has been compared to Tori Amos, Kate Bush, and The Creatures. She has released two instrumental albums (On a Day... and Laced/Unlaced), and four featuring her vocals: Enchant, Opheliac, A Bit o' This & That, and "Fight Like a Girl". The 2003 album Enchant drew on "new age chamber music, trip hop baroque, and experimental space pop". Autumn layers her voice frequently, and incorporates electronics and electronic effects into her work on Enchant; she also combines strings and piano for some songs, while others feature mainly the piano or violin. The 2006 release Opheliac featured "cabaret, electronic, symphonic, new age, and good ol' rock & roll (and heavy on the theatrical bombast)".
A classically trained musician, Autumn is influenced by plays, novels, and history, particularly the Victorian era. She enjoys the works of Shakespeare, Elizabeth Barrett Browning and husband Robert, and Edgar Allan Poe. She incorporates sounds resembling Victorian machinery such as locomotives, which she noted was "sort of a steampunk thing". While a young Autumn cited Itzhak Perlman as an influence because of the happiness she believed he felt when he played, her main musical influence and inspiration is the English violinist Nigel Kennedy. Her favorite singer is Morrissey from The Smiths. She takes inspiration for her songs from her life experiences and mixes in "layers and layers of references, connections, other stories and metaphors". Autumn has variously described her music and style as "Psychotic Vaudeville Burlesque", "Victoriandustrial'", a term she coined, and glam rock because of her use of glitter onstage. According to Autumn, her music "wasn't meant to be cutesy" and is labeled as "industrial" mainly because of her use of drums and yelling. Her adaption of "O Mistress Mine" was praised by author and theater director
Barry Edelstein as "a ravishing, guaranteed tearjerker".
For her live performances, which she calls dinner theatre because of her practice of throwing tea and tea-time snacks off of the stage, Autumn makes use of burlesque—"a show that was mainly using humour and sexuality to make a mockery of things that were going on socially and politically"—to counterbalance the more morbid topics discussed in her music, such as abuse, suicide and self-mutilation. Her shows feature handmade costumes, fire tricks, theatrics, and her all-female backing band, The Bloody Crumpets, a group whose members have variously included burlesque performer Veronica Varlow as The Naughty Veronica, performance artist Maggie Lally as Captain Maggot, Jill Evyn as Lady Amalthea (or Moth), actress and performer Beth Hinderliter as The Blessed Contessa, actress Aprella Godfrey Barule as Lady Aprella, German musician Lucina as Little Lucina, cellist Sarah Kim as Lady Joo Hee, German costume designer Vecona as Captain Vecona, Jesselynn Desmond as Little Miss Sugarless, and Ulorin Vex. Her intention is for the live shows to be a statement of "anti-repression" and empowerment.
Personal life
She keeps a ritual of drawing a heart on her cheek as a symbol of protection.
Autumn became vegetarian at age eleven after being unable to rationalize why she should eat farm animals but not her pet dog; in her late-teens, she became vegan. She has stated she believes that there is a link between the treatment of women and animals in society. In August 2014, Autumn said she had developed copper toxicity and was no longer vegan, although still a committed vegetarian.
In 2021, Autumn adopted a Toy Manchester Terrier, who she named Darjeeling.
She has endorsed companies such as Manic Panic and Samson Tech.
Autumn has bipolar disorder, which she has discussed in a number of interviews.
Discography
Studio albums
Enchant (2003)
Opheliac (2006)
Fight Like a Girl (2012)
The Asylum for Wayward Victorian Girls: Behind the Musical (2018)
Instrumental albums
On a Day... (2000)
Laced/Unlaced (2007)
Concert tours
The Asylum Tour - 2007
The Plague Tour - 2008
The Gate Tour - 2008-2009
The Key Tour - 2009
The Door Tour - 2011
The Fight Like a Girl Tour - 2011-2012
Bibliography
Across the Sky & Other Poems (2000)
Your Sugar Sits Untouched (2005)
The Asylum for Wayward Victorian Girls (2009)
Filmography
11-11-11 as 11'er in Video (2011) Uncredited
The Devil's Carnival (2012) as Painted Doll
Alleluia! The Devil's Carnival as June / The Painted Doll
Notes
References
External links
Emilie Autumn MetalBlast.net interview, April 17, 2012.
Interview with Emilie Autumn
1979 births
21st-century American poets
21st-century American singers
American contraltos
American electronic musicians
American feminists
American harpsichordists
American industrial musicians
American people of German descent
American rock violinists
American women poets
Dark cabaret musicians
Women rock singers
Feminist musicians
Living people
Metropolis Records artists
Singers from California
Singers from Chicago
People with bipolar disorder
American women in electronic music
Writers from California
Writers from Illinois
21st-century American women singers
Electric violinists
21st-century violinists
Women harpsichordists
Steampunk music
Women in punk
| true |
[
"Megan Nick (born 9 July 1996) is an American freestyle skier specializing in aerials. She competed at the 2022 Winter Olympics in Beijing, where she won the bronze medal in aerials.\n\nNick went through the qualification and in Final 1, where only six athletes qualify for Final 2, was fifth. In Final 2, her routine was easier than that of the other athletes, in particular, she was the only athlete who did not perform a triple backflip, but she did not make mistakes, whereas many of her competitors did. NBC sports called her a \"surprising medalist\".\n\nPersonal life\nNick attended high school at Champlain Valley Union High School. She grew up competing in gymnastics before transitioning into aerials after attending the U.S. team’s aerial skiing Talent ID camp in Lake Placid during her final year of high school.\n\nReferences\n\nExternal links\n\n1996 births\nLiving people\nPeople from Shelburne, Vermont\nAmerican female freestyle skiers\nFreestyle skiers at the 2022 Winter Olympics\nMedalists at the 2022 Winter Olympics\nSportspeople from Vermont\nOlympic bronze medalists for the United States in freestyle skiing",
"The No Sound Without Silence Tour is the third arena tour by Irish pop rock band The Script. Launched in support of their fourth studio album No Sound Without Silence (2014), the tour began in Tokyo on 16 January 2015 and visited Europe, North America, Asia, Africa and Oceania. The opening acts were American singer Phillip Phillips for the South African dates, and English singer Tinie Tempah for the European dates. Pharrell Williams served as a co-headliner for the Croke Park concert on 20 June 2015.\n\nOpening acts\nColton Avery (Europe, North America, Australia, Philippines, Thailand, Malaysia)\nMary Lambert (North America)\nPhillip Phillips (South Africa)\nSilent Sanctuary (Philippines)\nTinie Tempah (Europe)\nPharrell Williams (Dublin)\nThe Wailers (Dublin)\nThe Sam Willows (Singapore)\nKensington (Band) (Europe)\n\nSetlist\nThis setlist is based on previous performances of the tour.\n\n \"Paint the Town Green\"\n \"Hail Rain or Sunshine\"\n \"Breakeven\"\n \"Before the Worst\"\n \"Superheroes\"\n \"We Cry\"\n \"If You Could See Me Now\"\n \"Man on a Wire\"\n \"Nothing\"\n \"Good Ol' Days\"\n \"Never Seen Anything (Quite Like You)\"\n \"The Man Who Can't Be Moved\"\n \"You Won't Feel A Thing\"\n \"It's Not Right For You\"\n \"Six Degrees of Separation\"\n \"The Energy Never Dies\"\n \"For the First Time\"\n \"No Good in Goodbye\"\n \"Hall of Fame\"\n\nAdditional information\nDuring the performance in Sheffield, The Script didn't perform \"We Cry\" due to a fan collapsing. Danny called for Paramedic to check on her, she was fine and they carried on.\n\nDuring the performance in Barcelona, The Script didn't perform \"The End Where I Begin\" or \"Nothing\". They also did not perform \"Six Degrees Of Separation\" and \"It's Not Right For You\".\n\nDuring the performance in Oakland, The Script didn't perform \"The End Where I Begin\", \"We Cry\", or \"Six Degrees of Separation\".\n\nDuring the performance in Toronto, The Script did not perform \"The End Where I Begin\" and \"Six Degrees of Separation\".\n\nDuring the performance im Hamburg, The Script did not perform \"Nothing\" and \"Never Seen Anything (Quite Like You)\".\n\nTour dates\n\nNotes\n\nReferences\n\n2015 concert tours\nThe Script concert tours"
] |
[
"Emilie Autumn",
"Influences and musical style",
"Who were Emilie's main influences?",
"Autumn is influenced by plays, novels, and history, particularly the Victorian era.",
"What was her musical style?",
"Autumn's vocal range is contralto, but also has the ability to perform in the dramatic soprano range. Her vocal work has been compared to Tori Amos, Kate Bush,",
"Did she play any instruments?",
"incorporates electronics and electronic effects into her work on Enchant; she also combines strings and piano for some songs, while others feature mainly the piano or violin.",
"Did she begin singing and playing instruments as a child?",
"I don't know.",
"Does she have any formal musical training?",
"I don't know.",
"What else is interesting about this article?",
"For her live performances, which she calls dinner theatre because of her practice of throwing tea and tea-time snacks offstage, Autumn makes use of burlesque--\"",
"Where did she perform?",
"theater"
] |
C_70107b3ed2834c31b68f02ba3926052b_0
|
Did she have a favorite author or novel?
| 8 |
Did Emilie Autumn have a favorite author or novel?
|
Emilie Autumn
|
Her music encompasses a wide range of styles. Autumn's vocal range is contralto, but also has the ability to perform in the dramatic soprano range. Her vocal work has been compared to Tori Amos, Kate Bush, and The Creatures. She has released two instrumental albums (On a Day... and Laced/Unlaced), and four featuring her vocals: Enchant, Opheliac, A Bit o' This & That, and "Fight Like A Girl". The 2003 album Enchant drew on "new age chamber music, trip hop baroque, and experimental space pop". Autumn layers her voice frequently, and incorporates electronics and electronic effects into her work on Enchant; she also combines strings and piano for some songs, while others feature mainly the piano or violin. The 2006 release Opheliac featured "cabaret, electronic, symphonic, new age, and good ol' rock & roll (and heavy on the theatrical bombast)". A classically trained musician, Autumn is influenced by plays, novels, and history, particularly the Victorian era. She enjoys the works of Shakespeare, Elizabeth Barrett Browning and her husband Robert, and Edgar Allan Poe. She incorporates sounds resembling Victorian machinery such as locomotives, which she noted was "sort of a steampunk thing". While a young Autumn cited Itzhak Perlman as an influence because of the happiness she believed he felt when he played, her main musical influence and inspiration is the English violinist Nigel Kennedy. Her favorite singer is Morrissey from The Smiths. She takes inspiration for her songs from her life experiences and mixes in "layers and layers of references, connections, other stories and metaphors". Autumn describes her music and style as "Psychotic Vaudeville Burlesque". She alternatively labels her music and style as "Victoriandustrial'", a term she coined, and glam rock because of her use of glitter onstage. According to Autumn, her music "wasn't meant to be cutesy" and is labeled as "industrial" mainly because of her use of drums and yelling. Her adaption of "O Mistress Mine" was praised by author and theater director Barry Edelstein as "a ravishing, guaranteed tearjerker". For her live performances, which she calls dinner theatre because of her practice of throwing tea and tea-time snacks offstage, Autumn makes use of burlesque--"a show that was mainly using humour and sexuality to make a mockery of things that were going on socially and politically"--to counterbalance the morbid topics such as abuse and self-mutilation. She incorporates handmade costumes, fire tricks, theatrics, and a female backing band, The Bloody Crumpets: Veronica Varlow, Jill Evyn (Moth), and formerly The Blessed Contessa, Lady Aprella, Little Lucina, Lady Joo Hee, Captain Vecona, Little Miss Sugarless, Mistress Jacinda, and the model Ulorin Vex. Another crumpet, Captain Maggot, has taken a leave. Her wish for the live shows is to be an "anti-repression statement" and empowerment. CANNOTANSWER
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She enjoys the works of Shakespeare, Elizabeth Barrett Browning and her husband Robert, and Edgar Allan Poe.
|
Emilie Autumn Liddell (born September 22, 1979), better known by her stage name Emilie Autumn, is an American singer-songwriter, poet, author and violinist. Autumn's musical style is described by her as "Fairy Pop", "Fantasy Rock" or "Victoriandustrial". It is influenced by glam rock and from plays, novels, and history, particularly the Victorian era. Performing with her all-female backup dancers The Bloody Crumpets, Autumn incorporates elements of classical music, cabaret, electronica, and glam rock with theatrics, and burlesque.
Growing up in Malibu, California, Autumn began learning the violin at the age of four and left regular school five years later with the goal of becoming a world-class violinist; she practiced eight or nine hours a day and read a wide range of literature. Progressing to writing her own music, she studied under various teachers and went to Indiana University, which she left over issues regarding the relationship between classical music and the appearance of the performer. Through her own independent label Traitor Records, Autumn debuted with her classical album On a Day: Music for Violin & Continuo, followed by the release in 2003 of her album Enchant.
Autumn appeared in singer Courtney Love's backing band on her 2004 America's Sweetheart tour and returned to Europe. She released the 2006 album Opheliac with the German label Trisol Music Group. In 2007, she released Laced/Unlaced; the re-release of On a Day... appeared as Laced with songs on the electric violin as Unlaced. She later left Trisol to join New York based The End Records in 2009 and release Opheliac in the United States, where previously it had only been available as an import. In 2012, she released the album Fight Like a Girl. She played the role of the Painted Doll in Darren Lynn Bousman's 2012 film The Devil's Carnival, as well as its 2015 sequel, Alleluia! The Devil's Carnival.
Life and career
1979–2000: Beginnings
Emilie Autumn was born in Los Angeles, California, on September 22, 1979. Autumn grew up in Malibu, California. She has stated that "being surrounded by nature and sea had a lot to do with [her] development as a 'free spirit.'" Her mother worked as a seamstress, and she has said that her father was a German immigrant with whom she did not share a close relationship. While not musicians, her family enjoyed various genres of music.
When Autumn was four years old, she started learning the violin, and later commented: "I remember asking for a violin, but I don't remember knowing what one was. I might have thought it was a kind of pony for all I know, but I don't remember being disappointed." Four years later, Autumn made her musical debut as a solo violinist performing with an orchestra, and won a competition. At the age of nine or ten, she left regular school with the goal of becoming a world-class violinist. On her time at the school, she remarked, "I hated it anyway, what with the status as 'weird,' 'antisocial,' and the physical threats, there seemed to be no reason to go anymore, so I just didn't." She practiced eight or nine hours a day, had lessons, read a wide range of literature, participated in orchestra practice, and was home-schooled. Growing up, she owned a large CD collection of "violin concertos, symphonies, chamber music, opera, and a little jazz". She began writing her own music and poetry at age thirteen or fourteen, though she never planned to sing any of her songs. She studied under various teachers and attended Indiana University in Bloomington, but left after two years there, because she disagreed with the prevailing views on individuality and classical music. She believed that neither the audience nor the original composer would be insulted by the clothing and appearance of the performer.
While convinced that she would only play violin, eighteen-year-old Autumn decided to sing on one of her songs as a way of demonstrating to a major music producer, who wanted to sign her on a label, how it should sound. She became unhappy with the changes done to her songs, and decided to break away from the label and create her own independent record label, Traitor Records. Through it, she debuted with her classical album On a Day: Music for Violin & Continuo, which she recorded in 1997 when she was seventeen years old; its title refers to the fact that the album took only a day to record. It consists of her performing works for the baroque violin accompanied by Roger Lebow on the baroque cello, Edward Murray on harpsichord, and Michael Egan on lute. She considered it "more of a demo despite its length", and released it as "a saleable album" after fans who enjoyed her "rock performances starting asking for a classical album so that they could hear more of the violin." She also debuted with her poetry book Across the Sky & Other Poems in 2000, later re-released in 2005 as Your Sugar Sits Untouched with a music-accompanied audiobook.
2001–04: Enchant and collaborations
As part of a recording project, Autumn traveled to Chicago, Illinois, in 2001, and decided to stay because she enjoyed the public transportation system and music scene there. She released the 2001 EP Chambermaid while finishing Enchant—she alternatively labeled the musical style on Chambermaid as "fantasy rock" and cabaret—and wrote the 2001 charity single "By the Sword" after the events of September 11, 2001. According to her, the song is about strength, not violence; the act of swearing by the sword represents "an unbreakable promise to right a wrong, to stay true".
On February 26, 2003, Autumn released her concept album Enchant, which spanned multiple musical styles: "new-age, pop and trip hop chamber music". Written during her late teenage years, Enchant revolved around the supernatural realm and its effect on the modern-day world. Autumn labeled it as "fantasy rock", which dealt with "dreams and stories and ghosts and faeries who'll bite your head off if you dare to touch them". The faery-themed "Enchant Puzzle" appeared on the artwork of the album; her reward for the person who would solve it consisted of faery-related items. Her bandmates consisted of cellist Joey Harvey, drummer Heath Jansen, guitarist Ben Lehl, and bassist Jimmy Vanaria, who also worked on the electronics. At the same time of Enchants release, Autumn had several side projects: Convent, a musical group for which she recorded all four voices; Ravensong, "a classical baroque ensemble" that she formed with friends in California; and The Jane Brooks Project, which she dedicated to the real-life, 16th-century Jane Brooks—a woman executed for witchcraft.
On the night of the Enchant release party, Autumn learned that Courtney Love had invited her to record an album, America's Sweetheart, and embark on the tour to promote it. Contributing violin and vocals, Autumn appeared in Love's backing band The Chelsea— along with Radio Sloan, Dvin Kirakosian, Samantha Maloney, and Lisa Leveridge—on the 2004 tour. Much of Autumn's violin work was ultimately not released on the album; she commented: "This had to do entirely with new producers taking over the project after our little vacation in France, and carefully discarding all of our sessions." She performed live with Love and The Chelsea on Late Show with David Letterman on March 17, 2004, and at Bowery Ballroom the next day. In September 2004, her father died from lung cancer, even though he had quit smoking twenty years earlier. Near the end of 2004, she was filmed for an appearance on an episode of HGTV's Crafters Coast to Coast, showing viewers how to create faery wings and sushi-styled soap—both products she sold in her online "web design and couture fashion house", WillowTech House. On December 23, 2004, she appeared on the Chicago-based television station WGN as part of the string quartet backing up Billy Corgan and Dennis DeYoung's duet of "We Three Kings".
2005–09: Opheliac, Laced/Unlaced, and A Bit o' This & That
Autumn began work on her concept album Opheliac in August 2004, and recorded it at Mad Villain Studios in Chicago. In August 2005, she created the costumes for Corgan's music video for the track "Walking Shade"; she also contributed violin and vocals for the track "DIA" from his 2005 album TheFutureEmbrace. In late 2005, Autumn also recorded vocals and violin for "The Gates of Eternity" from Attrition's 2008 album All Mine Enemys Whispers: The Story of Mary Ann Cotton, a concept album focusing on the Victorian serial killer Mary Ann Cotton. Autumn later protested the release of the song, claiming that it was unfinished, "altered without her permission", and had been intended only as a possible collaboration with Martin Bowes.
In January 2006, Autumn performed a song from the album, "Misery Loves Company", on WGN, before the album's release by the German label Trisol Music Group in September. She released the limited-edition, preview EP Opheliac through her own label, Traitor Records, in spring 2006; while the Opheliac EPs were being shipped, Autumn claimed that her offices had been robbed, causing the delay in the album release and the shipping of the EPs. According to her, Opheliac "was the documentation of a completely life-changing and life-ending experience". At one time, Autumn did have plans to film a music video for her song "Liar", which included "bloody bathtubs". Her song "Opheliac" later appeared on the 2007 albums 13th Street: The Sound of Mystery, Vol. 3, published by ZYX Music, and Fuck the Mainstream, Vol. 1, published by Alfa Matrix on June 19. On October 9, 2006, she appeared on the Adult Swim cartoon Metalocalypse as a guest artist and on the subsequent 2007 album The Dethalbum. November 2006 saw the release of the EP Liar/Dead Is the New Alive, which featured remixes of songs from Opheliac and new material.
Autumn released her instrumental album, Laced/Unlaced in March 2007; it consisted of two discs: Laced, the re-release of On a Day..., and Unlaced, new songs for the electric violin. She decided to re-release On a Day as Laced because she "felt that it made a nice contrast to the metal shredding fiddle album, "Unlaced", and [...] loved that it was the perfect representation of "then" versus "now". She also performed live at the German musical events Wave Gotik Treffen and M'era Luna Festival in 2007. She later released A Bit o' This & That: a rarities album of her covers, including songs from The Beatles and The Smiths, classical pieces, and her own songs. In 2008, she released the EP 4 o'Clock, which contained remixes of songs from Opheliac, new songs, and a reading from her autobiographical novel The Asylum for Wayward Victorian Girls. She also released another EP, Girls Just Wanna Have Fun &Bohemian Rhapsody, the same year. A year later, Autumn broke away from Trisol Music Group to join The End Records and re-release Opheliac in the United States on October 27, 2009; previously, it was only available there as an import. The re-release included extras such as pictures, bonus tracks, an excerpt from The Asylum for Wayward Victorian Girls, and a video.
In addition to releasing her own material, Autumn collaborated with other musicians. She contributed backing vocals and violin to the track "Dry" by Die Warzau and made an appearance in the band's music video for "Born Again". She played violin on the song "UR A WMN NOW" from OTEP's 2009 album, Smash the Control Machine. Additionally, two of her tracks appeared in film soundtracks: "Organ Grinder" from 4 o'Clock on the European edition of Saw III and a remixed version of "Dead Is The New Alive" from Opheliac on the international version of Saw IV.
2010–present: The Asylum for Wayward Victorian Girls and Fight Like a Girl
Autumn's debut novel, The Asylum for Wayward Victorian Girls, was self-published in late 2009, with a second edition following in 2010. Because of the book's nature and possible autobiographical sections, she claimed its release was delayed because some did not want it published. The book combines Autumn's own real life journal entries, including those chronicling her time in a psych ward, and the diary of a fictional Victorian-era asylum inmate named "Emily". Autumn has said that the intent of the book was to show "there’s very little difference from asylums for ladies in 1841 and the ones for us now," and that the subject of mental illness remains misunderstood.
In June 2010, Autumn released the acronym of her upcoming album, F.L.A.G., on her Twitter account, before revealing the full title as Fight Like a Girl. In her words, the meaning behind the title is "about taking all these things that make women the underdogs and using them to your advantage". Based on her novel, The Asylum for Wayward Victorian Girls, the album has been described as "an operatic feminist treatise set inside an insane asylum, wherein the female inmates gradually realize their own strength in numbers". On August 30, 2010, she announced that she would be undergoing jaw surgery, and had to postpone her North American tour dates while she recovered. In September 2011, she posted the full lyrics to the album's title track, "Fight Like a Girl", on her Twitter account. Autumn appeared at the 2011 Harvest Festival in Australia, and had planned to debut two songs from Fight Like a Girl during those performances. On April 11, 2012, Autumn released the single "Fight Like a Girl", with the song "Time for Tea" appearing as a B-side.
On April 16, 2012, Autumn announced her plans to debut a three-hour musical adaptation of her autobiographical novel on London's West End theatre in 2014. According to her interview with Mulatschag, she has plans to play the roles of both protagonists, Emilie and Emily.
In late 2011, a twelve-minute teaser was released for Darren Lynn Bousman and Terrance Zdunich's project The Devil's Carnival, featuring Autumn as The Painted Doll, her first major acting role. The film was released in April 2012. "Bloody Crumpets" members Beth "The Blessed Contessa" Hinderliter and Maggie "Captain Maggot" Lally also appear in the film as Woe-Maidens.
On June 13, 2012, Autumn announced on her blog the release date of Fight Like a Girl, which was on July 24 of the same year.
In 2013, Autumn produced and starred in her first ever music video, directed by Darren Lynn Bousman, for the song "Fight Like a Girl". Also appearing in the video are Autumn's Devil's Carnival co-stars Dayton Callie and Marc Senter, as well as Veronica Varlow, among others.
In 2014, it was announced that Autumn would be appearing at a handful of dates on the 2014 Vans Warped Tour with an installation called "The Asylum Experience", which will include music, burlesque, circus sideshow attractions and theater.
On September 22, 2018, she released The Asylum for Wayward Victorian Girls: Behind the Musical, an album with songs made for her upcoming musical.
On November 3, 2021, Autumn released the single The Passenger, a cover of the song by Iggy Pop, marking her first official release in three years.
Influences and musical style
Her music encompasses a wide range of styles. Autumn's vocal range is contralto, but also has the ability to perform in the dramatic soprano range. Her vocal work has been compared to Tori Amos, Kate Bush, and The Creatures. She has released two instrumental albums (On a Day... and Laced/Unlaced), and four featuring her vocals: Enchant, Opheliac, A Bit o' This & That, and "Fight Like a Girl". The 2003 album Enchant drew on "new age chamber music, trip hop baroque, and experimental space pop". Autumn layers her voice frequently, and incorporates electronics and electronic effects into her work on Enchant; she also combines strings and piano for some songs, while others feature mainly the piano or violin. The 2006 release Opheliac featured "cabaret, electronic, symphonic, new age, and good ol' rock & roll (and heavy on the theatrical bombast)".
A classically trained musician, Autumn is influenced by plays, novels, and history, particularly the Victorian era. She enjoys the works of Shakespeare, Elizabeth Barrett Browning and husband Robert, and Edgar Allan Poe. She incorporates sounds resembling Victorian machinery such as locomotives, which she noted was "sort of a steampunk thing". While a young Autumn cited Itzhak Perlman as an influence because of the happiness she believed he felt when he played, her main musical influence and inspiration is the English violinist Nigel Kennedy. Her favorite singer is Morrissey from The Smiths. She takes inspiration for her songs from her life experiences and mixes in "layers and layers of references, connections, other stories and metaphors". Autumn has variously described her music and style as "Psychotic Vaudeville Burlesque", "Victoriandustrial'", a term she coined, and glam rock because of her use of glitter onstage. According to Autumn, her music "wasn't meant to be cutesy" and is labeled as "industrial" mainly because of her use of drums and yelling. Her adaption of "O Mistress Mine" was praised by author and theater director
Barry Edelstein as "a ravishing, guaranteed tearjerker".
For her live performances, which she calls dinner theatre because of her practice of throwing tea and tea-time snacks off of the stage, Autumn makes use of burlesque—"a show that was mainly using humour and sexuality to make a mockery of things that were going on socially and politically"—to counterbalance the more morbid topics discussed in her music, such as abuse, suicide and self-mutilation. Her shows feature handmade costumes, fire tricks, theatrics, and her all-female backing band, The Bloody Crumpets, a group whose members have variously included burlesque performer Veronica Varlow as The Naughty Veronica, performance artist Maggie Lally as Captain Maggot, Jill Evyn as Lady Amalthea (or Moth), actress and performer Beth Hinderliter as The Blessed Contessa, actress Aprella Godfrey Barule as Lady Aprella, German musician Lucina as Little Lucina, cellist Sarah Kim as Lady Joo Hee, German costume designer Vecona as Captain Vecona, Jesselynn Desmond as Little Miss Sugarless, and Ulorin Vex. Her intention is for the live shows to be a statement of "anti-repression" and empowerment.
Personal life
She keeps a ritual of drawing a heart on her cheek as a symbol of protection.
Autumn became vegetarian at age eleven after being unable to rationalize why she should eat farm animals but not her pet dog; in her late-teens, she became vegan. She has stated she believes that there is a link between the treatment of women and animals in society. In August 2014, Autumn said she had developed copper toxicity and was no longer vegan, although still a committed vegetarian.
In 2021, Autumn adopted a Toy Manchester Terrier, who she named Darjeeling.
She has endorsed companies such as Manic Panic and Samson Tech.
Autumn has bipolar disorder, which she has discussed in a number of interviews.
Discography
Studio albums
Enchant (2003)
Opheliac (2006)
Fight Like a Girl (2012)
The Asylum for Wayward Victorian Girls: Behind the Musical (2018)
Instrumental albums
On a Day... (2000)
Laced/Unlaced (2007)
Concert tours
The Asylum Tour - 2007
The Plague Tour - 2008
The Gate Tour - 2008-2009
The Key Tour - 2009
The Door Tour - 2011
The Fight Like a Girl Tour - 2011-2012
Bibliography
Across the Sky & Other Poems (2000)
Your Sugar Sits Untouched (2005)
The Asylum for Wayward Victorian Girls (2009)
Filmography
11-11-11 as 11'er in Video (2011) Uncredited
The Devil's Carnival (2012) as Painted Doll
Alleluia! The Devil's Carnival as June / The Painted Doll
Notes
References
External links
Emilie Autumn MetalBlast.net interview, April 17, 2012.
Interview with Emilie Autumn
1979 births
21st-century American poets
21st-century American singers
American contraltos
American electronic musicians
American feminists
American harpsichordists
American industrial musicians
American people of German descent
American rock violinists
American women poets
Dark cabaret musicians
Women rock singers
Feminist musicians
Living people
Metropolis Records artists
Singers from California
Singers from Chicago
People with bipolar disorder
American women in electronic music
Writers from California
Writers from Illinois
21st-century American women singers
Electric violinists
21st-century violinists
Women harpsichordists
Steampunk music
Women in punk
| false |
[
"Emil Ferris (; born 1962) is an American writer, cartoonist, and designer. Ferris debuted in publishing with her 2017 graphic novel My Favorite Thing Is Monsters. The novel tells a coming-of-age story of Karen Reyes, a girl growing in 1960s Chicago, and is written and drawn in the form of the character's notebook. The graphic novel was praised as a \"masterpiece\" and one of the best comics by a new author.\n\nLife \nFerris was born to Eleanor Spiess-Ferris and Mike Ferris on Chicago's South Side and grew up on North Side's Uptown. Her parents are artists who met at the School of the Art Institute of Chicago. Ferris is of Lebanese, Indigenous Mexican, German, French, Irish emigres, and Sephardic Jewish descent. She worked as a freelance illustrator and toy designer for clients such as McDonald's and Takara Tomy before being an author. Ferris identified early in her life as a lesbian but later on came to see herself as bisexual. Ferris was sexually abused as a child, which she says negatively affected her ability to draw in a cartoon style for many years.\n\nIn 2001, when she was 40, Ferris contracted West Nile fever from a mosquito bite. Three weeks after going to the hospital, she was paralyzed from the waist down and lost movement in her right hand. She eventually regained motor functionality and returned to working and drawing, receiving a MFA in creative writing from the School of the Art Institute of Chicago.\n\nWhile recovering from the paralysis, Ferris worked on her graphic novel. My Favorite Thing Is Monsters tells the story of Karen Reyes, a 10-year-old girl and fan of monster movies (like Ferris herself) who, growing up amidst the social tensions of 1960s Chicago, investigates the death of her upstairs neighbor. The book is written and drawn in the form of Reyes' diary notebook, with crosshatched artwork drawn with a ballpoint pen.\n\nMy Favorite Thing is Monsters was to be released in 2016, but the Chinese company shipping the books went bankrupt and the entire run was held at the Panama Canal. The 400-page book was eventually released in 2017 by Fantagraphics, receiving praise from authors like Art Spiegelman, Alison Bechdel, and Chris Ware; it was regarded as one of the best comics of 2017.\n\nAwards\n 2017 Ignatz Award for Outstanding Graphic Novel for My Favorite Thing Is Monsters\n 2017 Ignatz Award for Outstanding Artist\n 2018 Lambda Literary Award for LGBTQ Graphic Novel for My Favorite Thing Is Monsters\n 2018 Lynd Ward Prize for best graphic novel of the year for My Favorite Thing Is Monsters\n 2018 Eisner Award for Best Writer/Artist\n2019 Grand prix de la critique ACBD\n2019 Fauve d’or at FIBD 2019\n\nReferences\n\nExternal links\n \n Radio interview with Emil Ferris on Fresh Air (43 minutes, 2017)\n\nAmerican female comics artists\nSchool of the Art Institute of Chicago alumni\nAmerican comics writers\nFemale comics writers\nIgnatz Award winners for Outstanding Artist\n1961 births\nLiving people\nAmerican people of Lebanese descent\nLambda Literary Award winners\nEisner Award winners for Best Writer/Artist\nLGBT writers from the United States\nLGBT people from Illinois\nLGBT comics creators\nBisexual writers\nEisner Award winners for Best Coloring",
"Lady of the Glen: A Novel of 17th-Century Scotland and the Massacre of Glencoe is a 1996 historical fiction novel by American author Jennifer Roberson. It is a re-telling of the 1692 Massacre of Glencoe, and focuses on the romance between Catriona of Clan Campbell and Alasdair Og MacDonald of Clan Donald, each from rival clans.\n\nRoberson was inspired to write the novel after learning of the massacre in a British history class, and waited 25 years until she felt ready to tell it. Lady of the Glen was published by Kensington Books in April 1996, with cover art by book illustrator Anne Yvonne Gilbert. A German translation was released in 2001.\n\nPlot summary\nThe novel is set amidst the background of the 1692 Massacre of Glencoe, which was ordered by King William III. Catriona of Clan Campbell, daughter of the Laird of Glenlyon, falls in love with Alasdair Og MacDonald, a member of a rival clan. Their love must endure the political machinations of King William and the Jacobites. In August 1691, William offers all Highland clans a pardon for their part in the Jacobite Uprising, as long as they took an oath of allegiance before 1 January 1692 in front of a magistrate. Alasdair struggles greatly to meet this deadline, as the message reached its recipients in mid-December, in difficult winter conditions, only a few weeks before the deadline. The tension of this political situation is mirrored by the fraught romance of Catriona and Alasdair.\n\nDevelopment\nLady of the Glen was written by American author Jennifer Roberson. She learned of the Massacre of Glencoe in a British History class she took at Northern Arizona University, and thought \"then it would make a terrific tale.\" She waited 25 years \"until [she] felt ready to write it,\" as she wanted \"to do right by the story.\" Roberson did not realize until she began her research in 1985 \"how much story there was to tell, nor how dramatic.\" For research, the author read John Prebble's \"outstanding and invaluable\" 1966 work Glencoe and visited the site of the massacre itself. Roberson has admitted that while she desired to be as historically accurate as possible, she \"occasionally relied on personal suppositions and interpretations, and, where necessary, significantly compressed the time frame and chronology of events to improve the story's pacing.\" According to her, all of the main characters are based on real people; a MacDonald did in fact marry a Campbell of Glen Lyon, though Roberson changed her name from Sarah to Catriona and made her the laird Glenlyon's daughter, not his niece. She later listed Lady of the Glen among her favorite works.\n\nRelease and reception\nThe novel was released in April 1996 by Kensington Books, with cover art by book illustrator Anne Yvonne Gilbert. A German translation was published in 2001. Roberson stated in a March 2007 interview that a screenwriter had twice \"optioned\" the book but noted that this was true of many other works. Of all her period dramas, Roberson thought Lady of the Glen was best suited for film adaptation, and stated that she would love for Sean Connery to play the MacDonald laird.\n\nPublishers Weekly gave Lady of the Glen a mixed review, criticizing it for \"offer[ing] only a smidgen of suspense\" due to its many flash-forwards. They did however laud Roberson for creating an \"atmospherically real\" Scotland, \"which comes as no surprise from an author who writes acclaimed fantasies (the Sword-Dancer saga, etc.) as well as romances.\" Publishers Weekly concluded that those who enjoyed Roberson's 1992 novel Lady of the Forest would also like Lady of the Glen. Another reviewer described Lady of the Glen as being \"a pleasure,\" and Kensington Publishing deemed the novel \"similar in theme to the recent films Rob Roy and Braveheart.\" Lady of the Glen was listed among author Willa Blair's favorite historical fiction novels set in Scotland.\n\nReferences\n\nWorks cited\n \n \n\n1996 American novels\nNovels set in Scotland\nNovels set in the 1690s\nBooks illustrated by Anne Yvonne Gilbert\nHistorical romance novels\nGlen Coe"
] |
[
"Emilie Autumn",
"Influences and musical style",
"Who were Emilie's main influences?",
"Autumn is influenced by plays, novels, and history, particularly the Victorian era.",
"What was her musical style?",
"Autumn's vocal range is contralto, but also has the ability to perform in the dramatic soprano range. Her vocal work has been compared to Tori Amos, Kate Bush,",
"Did she play any instruments?",
"incorporates electronics and electronic effects into her work on Enchant; she also combines strings and piano for some songs, while others feature mainly the piano or violin.",
"Did she begin singing and playing instruments as a child?",
"I don't know.",
"Does she have any formal musical training?",
"I don't know.",
"What else is interesting about this article?",
"For her live performances, which she calls dinner theatre because of her practice of throwing tea and tea-time snacks offstage, Autumn makes use of burlesque--\"",
"Where did she perform?",
"theater",
"Did she have a favorite author or novel?",
"She enjoys the works of Shakespeare, Elizabeth Barrett Browning and her husband Robert, and Edgar Allan Poe."
] |
C_70107b3ed2834c31b68f02ba3926052b_0
|
What are some of the roles she played?
| 9 |
What are some of the roles Emilie Autumn played?
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Emilie Autumn
|
Her music encompasses a wide range of styles. Autumn's vocal range is contralto, but also has the ability to perform in the dramatic soprano range. Her vocal work has been compared to Tori Amos, Kate Bush, and The Creatures. She has released two instrumental albums (On a Day... and Laced/Unlaced), and four featuring her vocals: Enchant, Opheliac, A Bit o' This & That, and "Fight Like A Girl". The 2003 album Enchant drew on "new age chamber music, trip hop baroque, and experimental space pop". Autumn layers her voice frequently, and incorporates electronics and electronic effects into her work on Enchant; she also combines strings and piano for some songs, while others feature mainly the piano or violin. The 2006 release Opheliac featured "cabaret, electronic, symphonic, new age, and good ol' rock & roll (and heavy on the theatrical bombast)". A classically trained musician, Autumn is influenced by plays, novels, and history, particularly the Victorian era. She enjoys the works of Shakespeare, Elizabeth Barrett Browning and her husband Robert, and Edgar Allan Poe. She incorporates sounds resembling Victorian machinery such as locomotives, which she noted was "sort of a steampunk thing". While a young Autumn cited Itzhak Perlman as an influence because of the happiness she believed he felt when he played, her main musical influence and inspiration is the English violinist Nigel Kennedy. Her favorite singer is Morrissey from The Smiths. She takes inspiration for her songs from her life experiences and mixes in "layers and layers of references, connections, other stories and metaphors". Autumn describes her music and style as "Psychotic Vaudeville Burlesque". She alternatively labels her music and style as "Victoriandustrial'", a term she coined, and glam rock because of her use of glitter onstage. According to Autumn, her music "wasn't meant to be cutesy" and is labeled as "industrial" mainly because of her use of drums and yelling. Her adaption of "O Mistress Mine" was praised by author and theater director Barry Edelstein as "a ravishing, guaranteed tearjerker". For her live performances, which she calls dinner theatre because of her practice of throwing tea and tea-time snacks offstage, Autumn makes use of burlesque--"a show that was mainly using humour and sexuality to make a mockery of things that were going on socially and politically"--to counterbalance the morbid topics such as abuse and self-mutilation. She incorporates handmade costumes, fire tricks, theatrics, and a female backing band, The Bloody Crumpets: Veronica Varlow, Jill Evyn (Moth), and formerly The Blessed Contessa, Lady Aprella, Little Lucina, Lady Joo Hee, Captain Vecona, Little Miss Sugarless, Mistress Jacinda, and the model Ulorin Vex. Another crumpet, Captain Maggot, has taken a leave. Her wish for the live shows is to be an "anti-repression statement" and empowerment. CANNOTANSWER
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perform in the dramatic soprano range.
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Emilie Autumn Liddell (born September 22, 1979), better known by her stage name Emilie Autumn, is an American singer-songwriter, poet, author and violinist. Autumn's musical style is described by her as "Fairy Pop", "Fantasy Rock" or "Victoriandustrial". It is influenced by glam rock and from plays, novels, and history, particularly the Victorian era. Performing with her all-female backup dancers The Bloody Crumpets, Autumn incorporates elements of classical music, cabaret, electronica, and glam rock with theatrics, and burlesque.
Growing up in Malibu, California, Autumn began learning the violin at the age of four and left regular school five years later with the goal of becoming a world-class violinist; she practiced eight or nine hours a day and read a wide range of literature. Progressing to writing her own music, she studied under various teachers and went to Indiana University, which she left over issues regarding the relationship between classical music and the appearance of the performer. Through her own independent label Traitor Records, Autumn debuted with her classical album On a Day: Music for Violin & Continuo, followed by the release in 2003 of her album Enchant.
Autumn appeared in singer Courtney Love's backing band on her 2004 America's Sweetheart tour and returned to Europe. She released the 2006 album Opheliac with the German label Trisol Music Group. In 2007, she released Laced/Unlaced; the re-release of On a Day... appeared as Laced with songs on the electric violin as Unlaced. She later left Trisol to join New York based The End Records in 2009 and release Opheliac in the United States, where previously it had only been available as an import. In 2012, she released the album Fight Like a Girl. She played the role of the Painted Doll in Darren Lynn Bousman's 2012 film The Devil's Carnival, as well as its 2015 sequel, Alleluia! The Devil's Carnival.
Life and career
1979–2000: Beginnings
Emilie Autumn was born in Los Angeles, California, on September 22, 1979. Autumn grew up in Malibu, California. She has stated that "being surrounded by nature and sea had a lot to do with [her] development as a 'free spirit.'" Her mother worked as a seamstress, and she has said that her father was a German immigrant with whom she did not share a close relationship. While not musicians, her family enjoyed various genres of music.
When Autumn was four years old, she started learning the violin, and later commented: "I remember asking for a violin, but I don't remember knowing what one was. I might have thought it was a kind of pony for all I know, but I don't remember being disappointed." Four years later, Autumn made her musical debut as a solo violinist performing with an orchestra, and won a competition. At the age of nine or ten, she left regular school with the goal of becoming a world-class violinist. On her time at the school, she remarked, "I hated it anyway, what with the status as 'weird,' 'antisocial,' and the physical threats, there seemed to be no reason to go anymore, so I just didn't." She practiced eight or nine hours a day, had lessons, read a wide range of literature, participated in orchestra practice, and was home-schooled. Growing up, she owned a large CD collection of "violin concertos, symphonies, chamber music, opera, and a little jazz". She began writing her own music and poetry at age thirteen or fourteen, though she never planned to sing any of her songs. She studied under various teachers and attended Indiana University in Bloomington, but left after two years there, because she disagreed with the prevailing views on individuality and classical music. She believed that neither the audience nor the original composer would be insulted by the clothing and appearance of the performer.
While convinced that she would only play violin, eighteen-year-old Autumn decided to sing on one of her songs as a way of demonstrating to a major music producer, who wanted to sign her on a label, how it should sound. She became unhappy with the changes done to her songs, and decided to break away from the label and create her own independent record label, Traitor Records. Through it, she debuted with her classical album On a Day: Music for Violin & Continuo, which she recorded in 1997 when she was seventeen years old; its title refers to the fact that the album took only a day to record. It consists of her performing works for the baroque violin accompanied by Roger Lebow on the baroque cello, Edward Murray on harpsichord, and Michael Egan on lute. She considered it "more of a demo despite its length", and released it as "a saleable album" after fans who enjoyed her "rock performances starting asking for a classical album so that they could hear more of the violin." She also debuted with her poetry book Across the Sky & Other Poems in 2000, later re-released in 2005 as Your Sugar Sits Untouched with a music-accompanied audiobook.
2001–04: Enchant and collaborations
As part of a recording project, Autumn traveled to Chicago, Illinois, in 2001, and decided to stay because she enjoyed the public transportation system and music scene there. She released the 2001 EP Chambermaid while finishing Enchant—she alternatively labeled the musical style on Chambermaid as "fantasy rock" and cabaret—and wrote the 2001 charity single "By the Sword" after the events of September 11, 2001. According to her, the song is about strength, not violence; the act of swearing by the sword represents "an unbreakable promise to right a wrong, to stay true".
On February 26, 2003, Autumn released her concept album Enchant, which spanned multiple musical styles: "new-age, pop and trip hop chamber music". Written during her late teenage years, Enchant revolved around the supernatural realm and its effect on the modern-day world. Autumn labeled it as "fantasy rock", which dealt with "dreams and stories and ghosts and faeries who'll bite your head off if you dare to touch them". The faery-themed "Enchant Puzzle" appeared on the artwork of the album; her reward for the person who would solve it consisted of faery-related items. Her bandmates consisted of cellist Joey Harvey, drummer Heath Jansen, guitarist Ben Lehl, and bassist Jimmy Vanaria, who also worked on the electronics. At the same time of Enchants release, Autumn had several side projects: Convent, a musical group for which she recorded all four voices; Ravensong, "a classical baroque ensemble" that she formed with friends in California; and The Jane Brooks Project, which she dedicated to the real-life, 16th-century Jane Brooks—a woman executed for witchcraft.
On the night of the Enchant release party, Autumn learned that Courtney Love had invited her to record an album, America's Sweetheart, and embark on the tour to promote it. Contributing violin and vocals, Autumn appeared in Love's backing band The Chelsea— along with Radio Sloan, Dvin Kirakosian, Samantha Maloney, and Lisa Leveridge—on the 2004 tour. Much of Autumn's violin work was ultimately not released on the album; she commented: "This had to do entirely with new producers taking over the project after our little vacation in France, and carefully discarding all of our sessions." She performed live with Love and The Chelsea on Late Show with David Letterman on March 17, 2004, and at Bowery Ballroom the next day. In September 2004, her father died from lung cancer, even though he had quit smoking twenty years earlier. Near the end of 2004, she was filmed for an appearance on an episode of HGTV's Crafters Coast to Coast, showing viewers how to create faery wings and sushi-styled soap—both products she sold in her online "web design and couture fashion house", WillowTech House. On December 23, 2004, she appeared on the Chicago-based television station WGN as part of the string quartet backing up Billy Corgan and Dennis DeYoung's duet of "We Three Kings".
2005–09: Opheliac, Laced/Unlaced, and A Bit o' This & That
Autumn began work on her concept album Opheliac in August 2004, and recorded it at Mad Villain Studios in Chicago. In August 2005, she created the costumes for Corgan's music video for the track "Walking Shade"; she also contributed violin and vocals for the track "DIA" from his 2005 album TheFutureEmbrace. In late 2005, Autumn also recorded vocals and violin for "The Gates of Eternity" from Attrition's 2008 album All Mine Enemys Whispers: The Story of Mary Ann Cotton, a concept album focusing on the Victorian serial killer Mary Ann Cotton. Autumn later protested the release of the song, claiming that it was unfinished, "altered without her permission", and had been intended only as a possible collaboration with Martin Bowes.
In January 2006, Autumn performed a song from the album, "Misery Loves Company", on WGN, before the album's release by the German label Trisol Music Group in September. She released the limited-edition, preview EP Opheliac through her own label, Traitor Records, in spring 2006; while the Opheliac EPs were being shipped, Autumn claimed that her offices had been robbed, causing the delay in the album release and the shipping of the EPs. According to her, Opheliac "was the documentation of a completely life-changing and life-ending experience". At one time, Autumn did have plans to film a music video for her song "Liar", which included "bloody bathtubs". Her song "Opheliac" later appeared on the 2007 albums 13th Street: The Sound of Mystery, Vol. 3, published by ZYX Music, and Fuck the Mainstream, Vol. 1, published by Alfa Matrix on June 19. On October 9, 2006, she appeared on the Adult Swim cartoon Metalocalypse as a guest artist and on the subsequent 2007 album The Dethalbum. November 2006 saw the release of the EP Liar/Dead Is the New Alive, which featured remixes of songs from Opheliac and new material.
Autumn released her instrumental album, Laced/Unlaced in March 2007; it consisted of two discs: Laced, the re-release of On a Day..., and Unlaced, new songs for the electric violin. She decided to re-release On a Day as Laced because she "felt that it made a nice contrast to the metal shredding fiddle album, "Unlaced", and [...] loved that it was the perfect representation of "then" versus "now". She also performed live at the German musical events Wave Gotik Treffen and M'era Luna Festival in 2007. She later released A Bit o' This & That: a rarities album of her covers, including songs from The Beatles and The Smiths, classical pieces, and her own songs. In 2008, she released the EP 4 o'Clock, which contained remixes of songs from Opheliac, new songs, and a reading from her autobiographical novel The Asylum for Wayward Victorian Girls. She also released another EP, Girls Just Wanna Have Fun &Bohemian Rhapsody, the same year. A year later, Autumn broke away from Trisol Music Group to join The End Records and re-release Opheliac in the United States on October 27, 2009; previously, it was only available there as an import. The re-release included extras such as pictures, bonus tracks, an excerpt from The Asylum for Wayward Victorian Girls, and a video.
In addition to releasing her own material, Autumn collaborated with other musicians. She contributed backing vocals and violin to the track "Dry" by Die Warzau and made an appearance in the band's music video for "Born Again". She played violin on the song "UR A WMN NOW" from OTEP's 2009 album, Smash the Control Machine. Additionally, two of her tracks appeared in film soundtracks: "Organ Grinder" from 4 o'Clock on the European edition of Saw III and a remixed version of "Dead Is The New Alive" from Opheliac on the international version of Saw IV.
2010–present: The Asylum for Wayward Victorian Girls and Fight Like a Girl
Autumn's debut novel, The Asylum for Wayward Victorian Girls, was self-published in late 2009, with a second edition following in 2010. Because of the book's nature and possible autobiographical sections, she claimed its release was delayed because some did not want it published. The book combines Autumn's own real life journal entries, including those chronicling her time in a psych ward, and the diary of a fictional Victorian-era asylum inmate named "Emily". Autumn has said that the intent of the book was to show "there’s very little difference from asylums for ladies in 1841 and the ones for us now," and that the subject of mental illness remains misunderstood.
In June 2010, Autumn released the acronym of her upcoming album, F.L.A.G., on her Twitter account, before revealing the full title as Fight Like a Girl. In her words, the meaning behind the title is "about taking all these things that make women the underdogs and using them to your advantage". Based on her novel, The Asylum for Wayward Victorian Girls, the album has been described as "an operatic feminist treatise set inside an insane asylum, wherein the female inmates gradually realize their own strength in numbers". On August 30, 2010, she announced that she would be undergoing jaw surgery, and had to postpone her North American tour dates while she recovered. In September 2011, she posted the full lyrics to the album's title track, "Fight Like a Girl", on her Twitter account. Autumn appeared at the 2011 Harvest Festival in Australia, and had planned to debut two songs from Fight Like a Girl during those performances. On April 11, 2012, Autumn released the single "Fight Like a Girl", with the song "Time for Tea" appearing as a B-side.
On April 16, 2012, Autumn announced her plans to debut a three-hour musical adaptation of her autobiographical novel on London's West End theatre in 2014. According to her interview with Mulatschag, she has plans to play the roles of both protagonists, Emilie and Emily.
In late 2011, a twelve-minute teaser was released for Darren Lynn Bousman and Terrance Zdunich's project The Devil's Carnival, featuring Autumn as The Painted Doll, her first major acting role. The film was released in April 2012. "Bloody Crumpets" members Beth "The Blessed Contessa" Hinderliter and Maggie "Captain Maggot" Lally also appear in the film as Woe-Maidens.
On June 13, 2012, Autumn announced on her blog the release date of Fight Like a Girl, which was on July 24 of the same year.
In 2013, Autumn produced and starred in her first ever music video, directed by Darren Lynn Bousman, for the song "Fight Like a Girl". Also appearing in the video are Autumn's Devil's Carnival co-stars Dayton Callie and Marc Senter, as well as Veronica Varlow, among others.
In 2014, it was announced that Autumn would be appearing at a handful of dates on the 2014 Vans Warped Tour with an installation called "The Asylum Experience", which will include music, burlesque, circus sideshow attractions and theater.
On September 22, 2018, she released The Asylum for Wayward Victorian Girls: Behind the Musical, an album with songs made for her upcoming musical.
On November 3, 2021, Autumn released the single The Passenger, a cover of the song by Iggy Pop, marking her first official release in three years.
Influences and musical style
Her music encompasses a wide range of styles. Autumn's vocal range is contralto, but also has the ability to perform in the dramatic soprano range. Her vocal work has been compared to Tori Amos, Kate Bush, and The Creatures. She has released two instrumental albums (On a Day... and Laced/Unlaced), and four featuring her vocals: Enchant, Opheliac, A Bit o' This & That, and "Fight Like a Girl". The 2003 album Enchant drew on "new age chamber music, trip hop baroque, and experimental space pop". Autumn layers her voice frequently, and incorporates electronics and electronic effects into her work on Enchant; she also combines strings and piano for some songs, while others feature mainly the piano or violin. The 2006 release Opheliac featured "cabaret, electronic, symphonic, new age, and good ol' rock & roll (and heavy on the theatrical bombast)".
A classically trained musician, Autumn is influenced by plays, novels, and history, particularly the Victorian era. She enjoys the works of Shakespeare, Elizabeth Barrett Browning and husband Robert, and Edgar Allan Poe. She incorporates sounds resembling Victorian machinery such as locomotives, which she noted was "sort of a steampunk thing". While a young Autumn cited Itzhak Perlman as an influence because of the happiness she believed he felt when he played, her main musical influence and inspiration is the English violinist Nigel Kennedy. Her favorite singer is Morrissey from The Smiths. She takes inspiration for her songs from her life experiences and mixes in "layers and layers of references, connections, other stories and metaphors". Autumn has variously described her music and style as "Psychotic Vaudeville Burlesque", "Victoriandustrial'", a term she coined, and glam rock because of her use of glitter onstage. According to Autumn, her music "wasn't meant to be cutesy" and is labeled as "industrial" mainly because of her use of drums and yelling. Her adaption of "O Mistress Mine" was praised by author and theater director
Barry Edelstein as "a ravishing, guaranteed tearjerker".
For her live performances, which she calls dinner theatre because of her practice of throwing tea and tea-time snacks off of the stage, Autumn makes use of burlesque—"a show that was mainly using humour and sexuality to make a mockery of things that were going on socially and politically"—to counterbalance the more morbid topics discussed in her music, such as abuse, suicide and self-mutilation. Her shows feature handmade costumes, fire tricks, theatrics, and her all-female backing band, The Bloody Crumpets, a group whose members have variously included burlesque performer Veronica Varlow as The Naughty Veronica, performance artist Maggie Lally as Captain Maggot, Jill Evyn as Lady Amalthea (or Moth), actress and performer Beth Hinderliter as The Blessed Contessa, actress Aprella Godfrey Barule as Lady Aprella, German musician Lucina as Little Lucina, cellist Sarah Kim as Lady Joo Hee, German costume designer Vecona as Captain Vecona, Jesselynn Desmond as Little Miss Sugarless, and Ulorin Vex. Her intention is for the live shows to be a statement of "anti-repression" and empowerment.
Personal life
She keeps a ritual of drawing a heart on her cheek as a symbol of protection.
Autumn became vegetarian at age eleven after being unable to rationalize why she should eat farm animals but not her pet dog; in her late-teens, she became vegan. She has stated she believes that there is a link between the treatment of women and animals in society. In August 2014, Autumn said she had developed copper toxicity and was no longer vegan, although still a committed vegetarian.
In 2021, Autumn adopted a Toy Manchester Terrier, who she named Darjeeling.
She has endorsed companies such as Manic Panic and Samson Tech.
Autumn has bipolar disorder, which she has discussed in a number of interviews.
Discography
Studio albums
Enchant (2003)
Opheliac (2006)
Fight Like a Girl (2012)
The Asylum for Wayward Victorian Girls: Behind the Musical (2018)
Instrumental albums
On a Day... (2000)
Laced/Unlaced (2007)
Concert tours
The Asylum Tour - 2007
The Plague Tour - 2008
The Gate Tour - 2008-2009
The Key Tour - 2009
The Door Tour - 2011
The Fight Like a Girl Tour - 2011-2012
Bibliography
Across the Sky & Other Poems (2000)
Your Sugar Sits Untouched (2005)
The Asylum for Wayward Victorian Girls (2009)
Filmography
11-11-11 as 11'er in Video (2011) Uncredited
The Devil's Carnival (2012) as Painted Doll
Alleluia! The Devil's Carnival as June / The Painted Doll
Notes
References
External links
Emilie Autumn MetalBlast.net interview, April 17, 2012.
Interview with Emilie Autumn
1979 births
21st-century American poets
21st-century American singers
American contraltos
American electronic musicians
American feminists
American harpsichordists
American industrial musicians
American people of German descent
American rock violinists
American women poets
Dark cabaret musicians
Women rock singers
Feminist musicians
Living people
Metropolis Records artists
Singers from California
Singers from Chicago
People with bipolar disorder
American women in electronic music
Writers from California
Writers from Illinois
21st-century American women singers
Electric violinists
21st-century violinists
Women harpsichordists
Steampunk music
Women in punk
| true |
[
"is a Japanese voice actress affiliated with I'm Enterprise. She took leading roles for each series, including Kamisama Minarai: Himitsu no Cocotama as Kokoro Yotsuba, Interviews with Monster Girls as Hikari Takanashi, Girlish Number as Yae Kugayama, Anime-Gatari as Minoa Asagaya, Katana Maidens ~ Toji No Miko as Kanami Eto, Comic Girls as Koyume Koizuka, Hinamatsuri as Hitomi Mishima, Zombie Land Saga as Sakura Minamoto, Bofuri as Maple/Kaede Honjō, and Wandering Witch: The Journey of Elaina as Elaina. She won the Best New Actress Award at the 13th Seiyu Awards.\n\nBiography\nHondo was born in Aichi Prefecture. She had an interest in anime from a young age, in particular the Naruto series. She became interested in acting and modelling after an incident during her fifth year of elementary, when a woman came close to her saying she has \"a face that goes well with makeup\". Not knowing immediately what that should mean, she made some research on her own later, and came to believe she was told she has a face suitable for an actress or a model. She would then start auditioning for various acting and modelling jobs, but she did not initially consider voice acting as an option. As she had a desire to perform in front of people, upon entering high school, she joined her school's theater club. While in high school, Hondo acted in school plays and also participated in activities, such as swimming, basketball, soft tennis and softball. While in her third year of school, one of her instructors was a radio personality, and her experiences with them and the club influenced her to decide to become a voice actor. In pursuit of this career, she enrolled at the Japan Narration Actor Institute. After completing her training, she became affiliated with the voice acting agency I'm Enterprise. She made her voice acting debut in 2015, playing minor roles in series such as Aoharu × Machinegun. Later that year, she was cast in her first main role as Kokoro Yotsuba, the protagonist of the anime series Kamisama Minarai: Himitsu no Cocotama.\n\nIn 2016, Hondo played the roles for Keijo!!!!!!!! and Girlish Number; she and the other main cast members of Girlish Number also performed the series' opening theme \"Bloom\" and ending theme . The following year, she played the roles of Hikari Takanashi in Interviews with Monster Girls, Kon Tatsumi in Urara Meirocho, and Minoa Asagaya in Anime-Gataris. In 2018, she played the roles of Kanami Etō in Katana Maidens ~ Toji No Miko, Koyume Koizuka in Comic Girls, Hitomi Mishima in Hinamatsuri, Kohaku Tsukishiro in Iroduku: The World in Colors and Sakura Minamoto in Zombie Land Saga.\n\nIn 2019, at the 13th Seiyu Awards, Hondo was one of the winners of the Best New Actresses award. The same year, she played the roles of Sempai in Magical Sempai, and Natsuki Saotome in Val × Love. In 2020, she played the roles of Maple in Bofuri, and Elaina in Wandering Witch: The Journey of Elaina. In 2021, she played the role of Laika in I've Been Killing Slimes for 300 Years and Maxed Out My Level, reprised the role of Sakura Minamoto in the second season of Zombie Land Saga, and also played the roles of Flora Beltrum in Seirei Gensouki: Spirit Chronicles, Hana Yurikawa in Mieruko-chan, Anna Schneider in Takt Op. Destiny, and Sumire Motiki in Deep Insanity: The Lost Child.\n\nFilmography\n\nAnime\n\nFilms\n\nVideo games\n\nReferences\n\nExternal links\nOfficial agency profile \n\n1996 births\nLiving people\nI'm Enterprise voice actors\nJapanese video game actresses\nJapanese voice actresses\nVoice actresses from Nagoya\n21st-century Japanese actresses",
"Helen Landis (20 March 1923 – 22 March 2015) was an English singer and actress, known for her performances in musical theatre, operetta and opera, especially roles in early British productions of Rodgers and Hammerstein's and Ivor Novello's musicals and the contralto roles in the Savoy operas with the Gilbert and Sullivan for All company, with whom she toured extensively for more than 20 years.\n\nLife and career\nLandis was born in Bolton, Lancashire. She began her career with the Carl Rosa Opera Company, singing mezzo-soprano roles with them for three years. She then appeared in operetta, playing the Princess in The Student Prince. The Manchester Guardian praised her \"mellow and even moving voice\" in a 1951 revival of Bless the Bride. She played Bloody Mary in the original West End production of South Pacific at the Theatre Royal, Drury Lane (1951), and her later roles in Rodgers and Hammerstein musicals included Lady Thiang and sometimes Anna in The King and I, Aunt Nettie in Carousel and roles in Flower Drum Song. She also toured in these roles in Britain and Australia. In 1959 she starred with Inia Te Wiata in a new production of Chu Chin Chow.\n\nWith the J. C. Williamson company in Australia, she played several Gilbert and Sullivan roles on tour (and the Princess in The Student Prince) in 1962, she played Anna in The King and I at the Princess Theatre in Melbourne in 1963, and again with Williamson, she toured in Lilac Time by Ivor Novello in 1964. From the 1960s to the 1980s, she toured extensively with Gilbert and Sullivan for All in the UK, US and Australia, recording seven of the contralto roles in the Savoy operas on both record and video. She had earlier recorded many of these roles, and some of her musical theatre roles, with the Michael Sammes Singers. In 1980 she appeared with John Reed and the London Savoyards in The Pirates of Penzance She also appeared with her own touring company for five years and other Gilbert and Sullivan companies.\n\nShe appeared in other musical theatre roles in shows including Robert and Elizabeth at the New Theatre in Bromley in 1968, The Umbrellas of Cherbourg at the Phoenix Theatre in 1980 and Bless the Bride at the Sadler's Wells Theatre in 1987. She played the Mother Abbess in The Sound of Music at Worthing’s Connaught Theatre in 1984, where she also played and Ernestine in Novello's Perchance to Dream, among other roles. She also played Madame Kurt in Novello's The Dancing Years in 1984 staging at the Wolsey Theatre, Ipswich, later recording the role for BBC Radio 2. Landis also appeared on the radio and the concert stage and continued to perform into her 80s.\n\nShe retired to the entertainers' rest home Denville Hall in Northwood, London in 2007, where she died eight years later, just after her 92nd birthday.\n\nRecordings\nWith Gilbert and Sullivan for All, in 1972, Landis recorded, on both record and video, the roles of Little Buttercup in H.M.S. Pinafore, the Fairy Queen in Iolanthe, Dame Hannah in Ruddigore, the Duchess of Plaza Toro in The Gondoliers, Katisha in The Mikado, Ruth in The Pirates of Penzance and Dame Carruthers in The Yeomen of the Guard. She sang several Sullivan songs on a 1972 Pearl disc called Sullivan.\n\nReferences\n\nFurther reading\n Autobiography.\n\nExternal links\nLandis at the IMDB\nCaricature of Landis in The King and I\nListen to Landis singing \"You'll Never Walk Alone\" from Carousel\nListen to Landis singing \"Climb Ev'ry Mountain\" from The Sound of Music\n\n1934 births\n2015 deaths\nOperatic mezzo-sopranos\nEnglish opera singers"
] |
[
"Emilie Autumn",
"Influences and musical style",
"Who were Emilie's main influences?",
"Autumn is influenced by plays, novels, and history, particularly the Victorian era.",
"What was her musical style?",
"Autumn's vocal range is contralto, but also has the ability to perform in the dramatic soprano range. Her vocal work has been compared to Tori Amos, Kate Bush,",
"Did she play any instruments?",
"incorporates electronics and electronic effects into her work on Enchant; she also combines strings and piano for some songs, while others feature mainly the piano or violin.",
"Did she begin singing and playing instruments as a child?",
"I don't know.",
"Does she have any formal musical training?",
"I don't know.",
"What else is interesting about this article?",
"For her live performances, which she calls dinner theatre because of her practice of throwing tea and tea-time snacks offstage, Autumn makes use of burlesque--\"",
"Where did she perform?",
"theater",
"Did she have a favorite author or novel?",
"She enjoys the works of Shakespeare, Elizabeth Barrett Browning and her husband Robert, and Edgar Allan Poe.",
"What are some of the roles she played?",
"perform in the dramatic soprano range."
] |
C_70107b3ed2834c31b68f02ba3926052b_0
|
Anything usual about her life?
| 10 |
Anything usual about Emilie Autumn's life?
|
Emilie Autumn
|
Her music encompasses a wide range of styles. Autumn's vocal range is contralto, but also has the ability to perform in the dramatic soprano range. Her vocal work has been compared to Tori Amos, Kate Bush, and The Creatures. She has released two instrumental albums (On a Day... and Laced/Unlaced), and four featuring her vocals: Enchant, Opheliac, A Bit o' This & That, and "Fight Like A Girl". The 2003 album Enchant drew on "new age chamber music, trip hop baroque, and experimental space pop". Autumn layers her voice frequently, and incorporates electronics and electronic effects into her work on Enchant; she also combines strings and piano for some songs, while others feature mainly the piano or violin. The 2006 release Opheliac featured "cabaret, electronic, symphonic, new age, and good ol' rock & roll (and heavy on the theatrical bombast)". A classically trained musician, Autumn is influenced by plays, novels, and history, particularly the Victorian era. She enjoys the works of Shakespeare, Elizabeth Barrett Browning and her husband Robert, and Edgar Allan Poe. She incorporates sounds resembling Victorian machinery such as locomotives, which she noted was "sort of a steampunk thing". While a young Autumn cited Itzhak Perlman as an influence because of the happiness she believed he felt when he played, her main musical influence and inspiration is the English violinist Nigel Kennedy. Her favorite singer is Morrissey from The Smiths. She takes inspiration for her songs from her life experiences and mixes in "layers and layers of references, connections, other stories and metaphors". Autumn describes her music and style as "Psychotic Vaudeville Burlesque". She alternatively labels her music and style as "Victoriandustrial'", a term she coined, and glam rock because of her use of glitter onstage. According to Autumn, her music "wasn't meant to be cutesy" and is labeled as "industrial" mainly because of her use of drums and yelling. Her adaption of "O Mistress Mine" was praised by author and theater director Barry Edelstein as "a ravishing, guaranteed tearjerker". For her live performances, which she calls dinner theatre because of her practice of throwing tea and tea-time snacks offstage, Autumn makes use of burlesque--"a show that was mainly using humour and sexuality to make a mockery of things that were going on socially and politically"--to counterbalance the morbid topics such as abuse and self-mutilation. She incorporates handmade costumes, fire tricks, theatrics, and a female backing band, The Bloody Crumpets: Veronica Varlow, Jill Evyn (Moth), and formerly The Blessed Contessa, Lady Aprella, Little Lucina, Lady Joo Hee, Captain Vecona, Little Miss Sugarless, Mistress Jacinda, and the model Ulorin Vex. Another crumpet, Captain Maggot, has taken a leave. Her wish for the live shows is to be an "anti-repression statement" and empowerment. CANNOTANSWER
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She has released two instrumental albums (On a Day... and Laced/Unlaced), and four featuring her vocals: Enchant, Opheliac,
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Emilie Autumn Liddell (born September 22, 1979), better known by her stage name Emilie Autumn, is an American singer-songwriter, poet, author and violinist. Autumn's musical style is described by her as "Fairy Pop", "Fantasy Rock" or "Victoriandustrial". It is influenced by glam rock and from plays, novels, and history, particularly the Victorian era. Performing with her all-female backup dancers The Bloody Crumpets, Autumn incorporates elements of classical music, cabaret, electronica, and glam rock with theatrics, and burlesque.
Growing up in Malibu, California, Autumn began learning the violin at the age of four and left regular school five years later with the goal of becoming a world-class violinist; she practiced eight or nine hours a day and read a wide range of literature. Progressing to writing her own music, she studied under various teachers and went to Indiana University, which she left over issues regarding the relationship between classical music and the appearance of the performer. Through her own independent label Traitor Records, Autumn debuted with her classical album On a Day: Music for Violin & Continuo, followed by the release in 2003 of her album Enchant.
Autumn appeared in singer Courtney Love's backing band on her 2004 America's Sweetheart tour and returned to Europe. She released the 2006 album Opheliac with the German label Trisol Music Group. In 2007, she released Laced/Unlaced; the re-release of On a Day... appeared as Laced with songs on the electric violin as Unlaced. She later left Trisol to join New York based The End Records in 2009 and release Opheliac in the United States, where previously it had only been available as an import. In 2012, she released the album Fight Like a Girl. She played the role of the Painted Doll in Darren Lynn Bousman's 2012 film The Devil's Carnival, as well as its 2015 sequel, Alleluia! The Devil's Carnival.
Life and career
1979–2000: Beginnings
Emilie Autumn was born in Los Angeles, California, on September 22, 1979. Autumn grew up in Malibu, California. She has stated that "being surrounded by nature and sea had a lot to do with [her] development as a 'free spirit.'" Her mother worked as a seamstress, and she has said that her father was a German immigrant with whom she did not share a close relationship. While not musicians, her family enjoyed various genres of music.
When Autumn was four years old, she started learning the violin, and later commented: "I remember asking for a violin, but I don't remember knowing what one was. I might have thought it was a kind of pony for all I know, but I don't remember being disappointed." Four years later, Autumn made her musical debut as a solo violinist performing with an orchestra, and won a competition. At the age of nine or ten, she left regular school with the goal of becoming a world-class violinist. On her time at the school, she remarked, "I hated it anyway, what with the status as 'weird,' 'antisocial,' and the physical threats, there seemed to be no reason to go anymore, so I just didn't." She practiced eight or nine hours a day, had lessons, read a wide range of literature, participated in orchestra practice, and was home-schooled. Growing up, she owned a large CD collection of "violin concertos, symphonies, chamber music, opera, and a little jazz". She began writing her own music and poetry at age thirteen or fourteen, though she never planned to sing any of her songs. She studied under various teachers and attended Indiana University in Bloomington, but left after two years there, because she disagreed with the prevailing views on individuality and classical music. She believed that neither the audience nor the original composer would be insulted by the clothing and appearance of the performer.
While convinced that she would only play violin, eighteen-year-old Autumn decided to sing on one of her songs as a way of demonstrating to a major music producer, who wanted to sign her on a label, how it should sound. She became unhappy with the changes done to her songs, and decided to break away from the label and create her own independent record label, Traitor Records. Through it, she debuted with her classical album On a Day: Music for Violin & Continuo, which she recorded in 1997 when she was seventeen years old; its title refers to the fact that the album took only a day to record. It consists of her performing works for the baroque violin accompanied by Roger Lebow on the baroque cello, Edward Murray on harpsichord, and Michael Egan on lute. She considered it "more of a demo despite its length", and released it as "a saleable album" after fans who enjoyed her "rock performances starting asking for a classical album so that they could hear more of the violin." She also debuted with her poetry book Across the Sky & Other Poems in 2000, later re-released in 2005 as Your Sugar Sits Untouched with a music-accompanied audiobook.
2001–04: Enchant and collaborations
As part of a recording project, Autumn traveled to Chicago, Illinois, in 2001, and decided to stay because she enjoyed the public transportation system and music scene there. She released the 2001 EP Chambermaid while finishing Enchant—she alternatively labeled the musical style on Chambermaid as "fantasy rock" and cabaret—and wrote the 2001 charity single "By the Sword" after the events of September 11, 2001. According to her, the song is about strength, not violence; the act of swearing by the sword represents "an unbreakable promise to right a wrong, to stay true".
On February 26, 2003, Autumn released her concept album Enchant, which spanned multiple musical styles: "new-age, pop and trip hop chamber music". Written during her late teenage years, Enchant revolved around the supernatural realm and its effect on the modern-day world. Autumn labeled it as "fantasy rock", which dealt with "dreams and stories and ghosts and faeries who'll bite your head off if you dare to touch them". The faery-themed "Enchant Puzzle" appeared on the artwork of the album; her reward for the person who would solve it consisted of faery-related items. Her bandmates consisted of cellist Joey Harvey, drummer Heath Jansen, guitarist Ben Lehl, and bassist Jimmy Vanaria, who also worked on the electronics. At the same time of Enchants release, Autumn had several side projects: Convent, a musical group for which she recorded all four voices; Ravensong, "a classical baroque ensemble" that she formed with friends in California; and The Jane Brooks Project, which she dedicated to the real-life, 16th-century Jane Brooks—a woman executed for witchcraft.
On the night of the Enchant release party, Autumn learned that Courtney Love had invited her to record an album, America's Sweetheart, and embark on the tour to promote it. Contributing violin and vocals, Autumn appeared in Love's backing band The Chelsea— along with Radio Sloan, Dvin Kirakosian, Samantha Maloney, and Lisa Leveridge—on the 2004 tour. Much of Autumn's violin work was ultimately not released on the album; she commented: "This had to do entirely with new producers taking over the project after our little vacation in France, and carefully discarding all of our sessions." She performed live with Love and The Chelsea on Late Show with David Letterman on March 17, 2004, and at Bowery Ballroom the next day. In September 2004, her father died from lung cancer, even though he had quit smoking twenty years earlier. Near the end of 2004, she was filmed for an appearance on an episode of HGTV's Crafters Coast to Coast, showing viewers how to create faery wings and sushi-styled soap—both products she sold in her online "web design and couture fashion house", WillowTech House. On December 23, 2004, she appeared on the Chicago-based television station WGN as part of the string quartet backing up Billy Corgan and Dennis DeYoung's duet of "We Three Kings".
2005–09: Opheliac, Laced/Unlaced, and A Bit o' This & That
Autumn began work on her concept album Opheliac in August 2004, and recorded it at Mad Villain Studios in Chicago. In August 2005, she created the costumes for Corgan's music video for the track "Walking Shade"; she also contributed violin and vocals for the track "DIA" from his 2005 album TheFutureEmbrace. In late 2005, Autumn also recorded vocals and violin for "The Gates of Eternity" from Attrition's 2008 album All Mine Enemys Whispers: The Story of Mary Ann Cotton, a concept album focusing on the Victorian serial killer Mary Ann Cotton. Autumn later protested the release of the song, claiming that it was unfinished, "altered without her permission", and had been intended only as a possible collaboration with Martin Bowes.
In January 2006, Autumn performed a song from the album, "Misery Loves Company", on WGN, before the album's release by the German label Trisol Music Group in September. She released the limited-edition, preview EP Opheliac through her own label, Traitor Records, in spring 2006; while the Opheliac EPs were being shipped, Autumn claimed that her offices had been robbed, causing the delay in the album release and the shipping of the EPs. According to her, Opheliac "was the documentation of a completely life-changing and life-ending experience". At one time, Autumn did have plans to film a music video for her song "Liar", which included "bloody bathtubs". Her song "Opheliac" later appeared on the 2007 albums 13th Street: The Sound of Mystery, Vol. 3, published by ZYX Music, and Fuck the Mainstream, Vol. 1, published by Alfa Matrix on June 19. On October 9, 2006, she appeared on the Adult Swim cartoon Metalocalypse as a guest artist and on the subsequent 2007 album The Dethalbum. November 2006 saw the release of the EP Liar/Dead Is the New Alive, which featured remixes of songs from Opheliac and new material.
Autumn released her instrumental album, Laced/Unlaced in March 2007; it consisted of two discs: Laced, the re-release of On a Day..., and Unlaced, new songs for the electric violin. She decided to re-release On a Day as Laced because she "felt that it made a nice contrast to the metal shredding fiddle album, "Unlaced", and [...] loved that it was the perfect representation of "then" versus "now". She also performed live at the German musical events Wave Gotik Treffen and M'era Luna Festival in 2007. She later released A Bit o' This & That: a rarities album of her covers, including songs from The Beatles and The Smiths, classical pieces, and her own songs. In 2008, she released the EP 4 o'Clock, which contained remixes of songs from Opheliac, new songs, and a reading from her autobiographical novel The Asylum for Wayward Victorian Girls. She also released another EP, Girls Just Wanna Have Fun &Bohemian Rhapsody, the same year. A year later, Autumn broke away from Trisol Music Group to join The End Records and re-release Opheliac in the United States on October 27, 2009; previously, it was only available there as an import. The re-release included extras such as pictures, bonus tracks, an excerpt from The Asylum for Wayward Victorian Girls, and a video.
In addition to releasing her own material, Autumn collaborated with other musicians. She contributed backing vocals and violin to the track "Dry" by Die Warzau and made an appearance in the band's music video for "Born Again". She played violin on the song "UR A WMN NOW" from OTEP's 2009 album, Smash the Control Machine. Additionally, two of her tracks appeared in film soundtracks: "Organ Grinder" from 4 o'Clock on the European edition of Saw III and a remixed version of "Dead Is The New Alive" from Opheliac on the international version of Saw IV.
2010–present: The Asylum for Wayward Victorian Girls and Fight Like a Girl
Autumn's debut novel, The Asylum for Wayward Victorian Girls, was self-published in late 2009, with a second edition following in 2010. Because of the book's nature and possible autobiographical sections, she claimed its release was delayed because some did not want it published. The book combines Autumn's own real life journal entries, including those chronicling her time in a psych ward, and the diary of a fictional Victorian-era asylum inmate named "Emily". Autumn has said that the intent of the book was to show "there’s very little difference from asylums for ladies in 1841 and the ones for us now," and that the subject of mental illness remains misunderstood.
In June 2010, Autumn released the acronym of her upcoming album, F.L.A.G., on her Twitter account, before revealing the full title as Fight Like a Girl. In her words, the meaning behind the title is "about taking all these things that make women the underdogs and using them to your advantage". Based on her novel, The Asylum for Wayward Victorian Girls, the album has been described as "an operatic feminist treatise set inside an insane asylum, wherein the female inmates gradually realize their own strength in numbers". On August 30, 2010, she announced that she would be undergoing jaw surgery, and had to postpone her North American tour dates while she recovered. In September 2011, she posted the full lyrics to the album's title track, "Fight Like a Girl", on her Twitter account. Autumn appeared at the 2011 Harvest Festival in Australia, and had planned to debut two songs from Fight Like a Girl during those performances. On April 11, 2012, Autumn released the single "Fight Like a Girl", with the song "Time for Tea" appearing as a B-side.
On April 16, 2012, Autumn announced her plans to debut a three-hour musical adaptation of her autobiographical novel on London's West End theatre in 2014. According to her interview with Mulatschag, she has plans to play the roles of both protagonists, Emilie and Emily.
In late 2011, a twelve-minute teaser was released for Darren Lynn Bousman and Terrance Zdunich's project The Devil's Carnival, featuring Autumn as The Painted Doll, her first major acting role. The film was released in April 2012. "Bloody Crumpets" members Beth "The Blessed Contessa" Hinderliter and Maggie "Captain Maggot" Lally also appear in the film as Woe-Maidens.
On June 13, 2012, Autumn announced on her blog the release date of Fight Like a Girl, which was on July 24 of the same year.
In 2013, Autumn produced and starred in her first ever music video, directed by Darren Lynn Bousman, for the song "Fight Like a Girl". Also appearing in the video are Autumn's Devil's Carnival co-stars Dayton Callie and Marc Senter, as well as Veronica Varlow, among others.
In 2014, it was announced that Autumn would be appearing at a handful of dates on the 2014 Vans Warped Tour with an installation called "The Asylum Experience", which will include music, burlesque, circus sideshow attractions and theater.
On September 22, 2018, she released The Asylum for Wayward Victorian Girls: Behind the Musical, an album with songs made for her upcoming musical.
On November 3, 2021, Autumn released the single The Passenger, a cover of the song by Iggy Pop, marking her first official release in three years.
Influences and musical style
Her music encompasses a wide range of styles. Autumn's vocal range is contralto, but also has the ability to perform in the dramatic soprano range. Her vocal work has been compared to Tori Amos, Kate Bush, and The Creatures. She has released two instrumental albums (On a Day... and Laced/Unlaced), and four featuring her vocals: Enchant, Opheliac, A Bit o' This & That, and "Fight Like a Girl". The 2003 album Enchant drew on "new age chamber music, trip hop baroque, and experimental space pop". Autumn layers her voice frequently, and incorporates electronics and electronic effects into her work on Enchant; she also combines strings and piano for some songs, while others feature mainly the piano or violin. The 2006 release Opheliac featured "cabaret, electronic, symphonic, new age, and good ol' rock & roll (and heavy on the theatrical bombast)".
A classically trained musician, Autumn is influenced by plays, novels, and history, particularly the Victorian era. She enjoys the works of Shakespeare, Elizabeth Barrett Browning and husband Robert, and Edgar Allan Poe. She incorporates sounds resembling Victorian machinery such as locomotives, which she noted was "sort of a steampunk thing". While a young Autumn cited Itzhak Perlman as an influence because of the happiness she believed he felt when he played, her main musical influence and inspiration is the English violinist Nigel Kennedy. Her favorite singer is Morrissey from The Smiths. She takes inspiration for her songs from her life experiences and mixes in "layers and layers of references, connections, other stories and metaphors". Autumn has variously described her music and style as "Psychotic Vaudeville Burlesque", "Victoriandustrial'", a term she coined, and glam rock because of her use of glitter onstage. According to Autumn, her music "wasn't meant to be cutesy" and is labeled as "industrial" mainly because of her use of drums and yelling. Her adaption of "O Mistress Mine" was praised by author and theater director
Barry Edelstein as "a ravishing, guaranteed tearjerker".
For her live performances, which she calls dinner theatre because of her practice of throwing tea and tea-time snacks off of the stage, Autumn makes use of burlesque—"a show that was mainly using humour and sexuality to make a mockery of things that were going on socially and politically"—to counterbalance the more morbid topics discussed in her music, such as abuse, suicide and self-mutilation. Her shows feature handmade costumes, fire tricks, theatrics, and her all-female backing band, The Bloody Crumpets, a group whose members have variously included burlesque performer Veronica Varlow as The Naughty Veronica, performance artist Maggie Lally as Captain Maggot, Jill Evyn as Lady Amalthea (or Moth), actress and performer Beth Hinderliter as The Blessed Contessa, actress Aprella Godfrey Barule as Lady Aprella, German musician Lucina as Little Lucina, cellist Sarah Kim as Lady Joo Hee, German costume designer Vecona as Captain Vecona, Jesselynn Desmond as Little Miss Sugarless, and Ulorin Vex. Her intention is for the live shows to be a statement of "anti-repression" and empowerment.
Personal life
She keeps a ritual of drawing a heart on her cheek as a symbol of protection.
Autumn became vegetarian at age eleven after being unable to rationalize why she should eat farm animals but not her pet dog; in her late-teens, she became vegan. She has stated she believes that there is a link between the treatment of women and animals in society. In August 2014, Autumn said she had developed copper toxicity and was no longer vegan, although still a committed vegetarian.
In 2021, Autumn adopted a Toy Manchester Terrier, who she named Darjeeling.
She has endorsed companies such as Manic Panic and Samson Tech.
Autumn has bipolar disorder, which she has discussed in a number of interviews.
Discography
Studio albums
Enchant (2003)
Opheliac (2006)
Fight Like a Girl (2012)
The Asylum for Wayward Victorian Girls: Behind the Musical (2018)
Instrumental albums
On a Day... (2000)
Laced/Unlaced (2007)
Concert tours
The Asylum Tour - 2007
The Plague Tour - 2008
The Gate Tour - 2008-2009
The Key Tour - 2009
The Door Tour - 2011
The Fight Like a Girl Tour - 2011-2012
Bibliography
Across the Sky & Other Poems (2000)
Your Sugar Sits Untouched (2005)
The Asylum for Wayward Victorian Girls (2009)
Filmography
11-11-11 as 11'er in Video (2011) Uncredited
The Devil's Carnival (2012) as Painted Doll
Alleluia! The Devil's Carnival as June / The Painted Doll
Notes
References
External links
Emilie Autumn MetalBlast.net interview, April 17, 2012.
Interview with Emilie Autumn
1979 births
21st-century American poets
21st-century American singers
American contraltos
American electronic musicians
American feminists
American harpsichordists
American industrial musicians
American people of German descent
American rock violinists
American women poets
Dark cabaret musicians
Women rock singers
Feminist musicians
Living people
Metropolis Records artists
Singers from California
Singers from Chicago
People with bipolar disorder
American women in electronic music
Writers from California
Writers from Illinois
21st-century American women singers
Electric violinists
21st-century violinists
Women harpsichordists
Steampunk music
Women in punk
| true |
[
"Rebound is a fictional comic book character created by Jim Valentino. She first appeared in Jim Valentino's ShadowHawk #7 (November, 2005) where ShadowHawk meets a mysterious red haired girl who has the power to deflect anything thrown at her.\n\nEarly life\nBorn in New Port City's surburbia east side to a crack head father who died in prison after being gang raped. Her mother started turning tricks to support her. Later her mother met a man named John who had money, political influence in New Port City and started to support her and mother. But it has its price, as her mother was willing to turn a blind eye to statutory rape which began happening to her starting at ten years old.\n\nShadowHawk\nShadowHawk met Rebound, who has the power to deflect anything thrown at her. Later on ShadowHawk sees Rebound at school. ShadowHawk will go face-to-face with Rebound who may change his life forever. As ShadowHawk learns more about her, after Eddie Collins learns Rebound's real name, Jen Lyter, the two make love.\n\nNotes\n\nReferences\n\nImage Comics female superheroes",
"Brisote (also brisole) is the northeast trade wind over Cuba when it is blowing more strongly than usual. The typical strength of this wind is 9 m s−1; anything blowing at a stronger rate may be described as a brisote. A brisote may be associated with tropical cyclones passing north-east of the island.\n\nReferences\n\nWinds"
] |
[
"Emilie Autumn",
"Influences and musical style",
"Who were Emilie's main influences?",
"Autumn is influenced by plays, novels, and history, particularly the Victorian era.",
"What was her musical style?",
"Autumn's vocal range is contralto, but also has the ability to perform in the dramatic soprano range. Her vocal work has been compared to Tori Amos, Kate Bush,",
"Did she play any instruments?",
"incorporates electronics and electronic effects into her work on Enchant; she also combines strings and piano for some songs, while others feature mainly the piano or violin.",
"Did she begin singing and playing instruments as a child?",
"I don't know.",
"Does she have any formal musical training?",
"I don't know.",
"What else is interesting about this article?",
"For her live performances, which she calls dinner theatre because of her practice of throwing tea and tea-time snacks offstage, Autumn makes use of burlesque--\"",
"Where did she perform?",
"theater",
"Did she have a favorite author or novel?",
"She enjoys the works of Shakespeare, Elizabeth Barrett Browning and her husband Robert, and Edgar Allan Poe.",
"What are some of the roles she played?",
"perform in the dramatic soprano range.",
"Anything usual about her life?",
"She has released two instrumental albums (On a Day... and Laced/Unlaced), and four featuring her vocals: Enchant, Opheliac,"
] |
C_70107b3ed2834c31b68f02ba3926052b_0
|
Were these albums successful?
| 11 |
Were the albums On a Day and Laced/Unlaced successful?
|
Emilie Autumn
|
Her music encompasses a wide range of styles. Autumn's vocal range is contralto, but also has the ability to perform in the dramatic soprano range. Her vocal work has been compared to Tori Amos, Kate Bush, and The Creatures. She has released two instrumental albums (On a Day... and Laced/Unlaced), and four featuring her vocals: Enchant, Opheliac, A Bit o' This & That, and "Fight Like A Girl". The 2003 album Enchant drew on "new age chamber music, trip hop baroque, and experimental space pop". Autumn layers her voice frequently, and incorporates electronics and electronic effects into her work on Enchant; she also combines strings and piano for some songs, while others feature mainly the piano or violin. The 2006 release Opheliac featured "cabaret, electronic, symphonic, new age, and good ol' rock & roll (and heavy on the theatrical bombast)". A classically trained musician, Autumn is influenced by plays, novels, and history, particularly the Victorian era. She enjoys the works of Shakespeare, Elizabeth Barrett Browning and her husband Robert, and Edgar Allan Poe. She incorporates sounds resembling Victorian machinery such as locomotives, which she noted was "sort of a steampunk thing". While a young Autumn cited Itzhak Perlman as an influence because of the happiness she believed he felt when he played, her main musical influence and inspiration is the English violinist Nigel Kennedy. Her favorite singer is Morrissey from The Smiths. She takes inspiration for her songs from her life experiences and mixes in "layers and layers of references, connections, other stories and metaphors". Autumn describes her music and style as "Psychotic Vaudeville Burlesque". She alternatively labels her music and style as "Victoriandustrial'", a term she coined, and glam rock because of her use of glitter onstage. According to Autumn, her music "wasn't meant to be cutesy" and is labeled as "industrial" mainly because of her use of drums and yelling. Her adaption of "O Mistress Mine" was praised by author and theater director Barry Edelstein as "a ravishing, guaranteed tearjerker". For her live performances, which she calls dinner theatre because of her practice of throwing tea and tea-time snacks offstage, Autumn makes use of burlesque--"a show that was mainly using humour and sexuality to make a mockery of things that were going on socially and politically"--to counterbalance the morbid topics such as abuse and self-mutilation. She incorporates handmade costumes, fire tricks, theatrics, and a female backing band, The Bloody Crumpets: Veronica Varlow, Jill Evyn (Moth), and formerly The Blessed Contessa, Lady Aprella, Little Lucina, Lady Joo Hee, Captain Vecona, Little Miss Sugarless, Mistress Jacinda, and the model Ulorin Vex. Another crumpet, Captain Maggot, has taken a leave. Her wish for the live shows is to be an "anti-repression statement" and empowerment. CANNOTANSWER
|
was praised by author and theater director Barry Edelstein as "a ravishing, guaranteed tearjerker".
|
Emilie Autumn Liddell (born September 22, 1979), better known by her stage name Emilie Autumn, is an American singer-songwriter, poet, author and violinist. Autumn's musical style is described by her as "Fairy Pop", "Fantasy Rock" or "Victoriandustrial". It is influenced by glam rock and from plays, novels, and history, particularly the Victorian era. Performing with her all-female backup dancers The Bloody Crumpets, Autumn incorporates elements of classical music, cabaret, electronica, and glam rock with theatrics, and burlesque.
Growing up in Malibu, California, Autumn began learning the violin at the age of four and left regular school five years later with the goal of becoming a world-class violinist; she practiced eight or nine hours a day and read a wide range of literature. Progressing to writing her own music, she studied under various teachers and went to Indiana University, which she left over issues regarding the relationship between classical music and the appearance of the performer. Through her own independent label Traitor Records, Autumn debuted with her classical album On a Day: Music for Violin & Continuo, followed by the release in 2003 of her album Enchant.
Autumn appeared in singer Courtney Love's backing band on her 2004 America's Sweetheart tour and returned to Europe. She released the 2006 album Opheliac with the German label Trisol Music Group. In 2007, she released Laced/Unlaced; the re-release of On a Day... appeared as Laced with songs on the electric violin as Unlaced. She later left Trisol to join New York based The End Records in 2009 and release Opheliac in the United States, where previously it had only been available as an import. In 2012, she released the album Fight Like a Girl. She played the role of the Painted Doll in Darren Lynn Bousman's 2012 film The Devil's Carnival, as well as its 2015 sequel, Alleluia! The Devil's Carnival.
Life and career
1979–2000: Beginnings
Emilie Autumn was born in Los Angeles, California, on September 22, 1979. Autumn grew up in Malibu, California. She has stated that "being surrounded by nature and sea had a lot to do with [her] development as a 'free spirit.'" Her mother worked as a seamstress, and she has said that her father was a German immigrant with whom she did not share a close relationship. While not musicians, her family enjoyed various genres of music.
When Autumn was four years old, she started learning the violin, and later commented: "I remember asking for a violin, but I don't remember knowing what one was. I might have thought it was a kind of pony for all I know, but I don't remember being disappointed." Four years later, Autumn made her musical debut as a solo violinist performing with an orchestra, and won a competition. At the age of nine or ten, she left regular school with the goal of becoming a world-class violinist. On her time at the school, she remarked, "I hated it anyway, what with the status as 'weird,' 'antisocial,' and the physical threats, there seemed to be no reason to go anymore, so I just didn't." She practiced eight or nine hours a day, had lessons, read a wide range of literature, participated in orchestra practice, and was home-schooled. Growing up, she owned a large CD collection of "violin concertos, symphonies, chamber music, opera, and a little jazz". She began writing her own music and poetry at age thirteen or fourteen, though she never planned to sing any of her songs. She studied under various teachers and attended Indiana University in Bloomington, but left after two years there, because she disagreed with the prevailing views on individuality and classical music. She believed that neither the audience nor the original composer would be insulted by the clothing and appearance of the performer.
While convinced that she would only play violin, eighteen-year-old Autumn decided to sing on one of her songs as a way of demonstrating to a major music producer, who wanted to sign her on a label, how it should sound. She became unhappy with the changes done to her songs, and decided to break away from the label and create her own independent record label, Traitor Records. Through it, she debuted with her classical album On a Day: Music for Violin & Continuo, which she recorded in 1997 when she was seventeen years old; its title refers to the fact that the album took only a day to record. It consists of her performing works for the baroque violin accompanied by Roger Lebow on the baroque cello, Edward Murray on harpsichord, and Michael Egan on lute. She considered it "more of a demo despite its length", and released it as "a saleable album" after fans who enjoyed her "rock performances starting asking for a classical album so that they could hear more of the violin." She also debuted with her poetry book Across the Sky & Other Poems in 2000, later re-released in 2005 as Your Sugar Sits Untouched with a music-accompanied audiobook.
2001–04: Enchant and collaborations
As part of a recording project, Autumn traveled to Chicago, Illinois, in 2001, and decided to stay because she enjoyed the public transportation system and music scene there. She released the 2001 EP Chambermaid while finishing Enchant—she alternatively labeled the musical style on Chambermaid as "fantasy rock" and cabaret—and wrote the 2001 charity single "By the Sword" after the events of September 11, 2001. According to her, the song is about strength, not violence; the act of swearing by the sword represents "an unbreakable promise to right a wrong, to stay true".
On February 26, 2003, Autumn released her concept album Enchant, which spanned multiple musical styles: "new-age, pop and trip hop chamber music". Written during her late teenage years, Enchant revolved around the supernatural realm and its effect on the modern-day world. Autumn labeled it as "fantasy rock", which dealt with "dreams and stories and ghosts and faeries who'll bite your head off if you dare to touch them". The faery-themed "Enchant Puzzle" appeared on the artwork of the album; her reward for the person who would solve it consisted of faery-related items. Her bandmates consisted of cellist Joey Harvey, drummer Heath Jansen, guitarist Ben Lehl, and bassist Jimmy Vanaria, who also worked on the electronics. At the same time of Enchants release, Autumn had several side projects: Convent, a musical group for which she recorded all four voices; Ravensong, "a classical baroque ensemble" that she formed with friends in California; and The Jane Brooks Project, which she dedicated to the real-life, 16th-century Jane Brooks—a woman executed for witchcraft.
On the night of the Enchant release party, Autumn learned that Courtney Love had invited her to record an album, America's Sweetheart, and embark on the tour to promote it. Contributing violin and vocals, Autumn appeared in Love's backing band The Chelsea— along with Radio Sloan, Dvin Kirakosian, Samantha Maloney, and Lisa Leveridge—on the 2004 tour. Much of Autumn's violin work was ultimately not released on the album; she commented: "This had to do entirely with new producers taking over the project after our little vacation in France, and carefully discarding all of our sessions." She performed live with Love and The Chelsea on Late Show with David Letterman on March 17, 2004, and at Bowery Ballroom the next day. In September 2004, her father died from lung cancer, even though he had quit smoking twenty years earlier. Near the end of 2004, she was filmed for an appearance on an episode of HGTV's Crafters Coast to Coast, showing viewers how to create faery wings and sushi-styled soap—both products she sold in her online "web design and couture fashion house", WillowTech House. On December 23, 2004, she appeared on the Chicago-based television station WGN as part of the string quartet backing up Billy Corgan and Dennis DeYoung's duet of "We Three Kings".
2005–09: Opheliac, Laced/Unlaced, and A Bit o' This & That
Autumn began work on her concept album Opheliac in August 2004, and recorded it at Mad Villain Studios in Chicago. In August 2005, she created the costumes for Corgan's music video for the track "Walking Shade"; she also contributed violin and vocals for the track "DIA" from his 2005 album TheFutureEmbrace. In late 2005, Autumn also recorded vocals and violin for "The Gates of Eternity" from Attrition's 2008 album All Mine Enemys Whispers: The Story of Mary Ann Cotton, a concept album focusing on the Victorian serial killer Mary Ann Cotton. Autumn later protested the release of the song, claiming that it was unfinished, "altered without her permission", and had been intended only as a possible collaboration with Martin Bowes.
In January 2006, Autumn performed a song from the album, "Misery Loves Company", on WGN, before the album's release by the German label Trisol Music Group in September. She released the limited-edition, preview EP Opheliac through her own label, Traitor Records, in spring 2006; while the Opheliac EPs were being shipped, Autumn claimed that her offices had been robbed, causing the delay in the album release and the shipping of the EPs. According to her, Opheliac "was the documentation of a completely life-changing and life-ending experience". At one time, Autumn did have plans to film a music video for her song "Liar", which included "bloody bathtubs". Her song "Opheliac" later appeared on the 2007 albums 13th Street: The Sound of Mystery, Vol. 3, published by ZYX Music, and Fuck the Mainstream, Vol. 1, published by Alfa Matrix on June 19. On October 9, 2006, she appeared on the Adult Swim cartoon Metalocalypse as a guest artist and on the subsequent 2007 album The Dethalbum. November 2006 saw the release of the EP Liar/Dead Is the New Alive, which featured remixes of songs from Opheliac and new material.
Autumn released her instrumental album, Laced/Unlaced in March 2007; it consisted of two discs: Laced, the re-release of On a Day..., and Unlaced, new songs for the electric violin. She decided to re-release On a Day as Laced because she "felt that it made a nice contrast to the metal shredding fiddle album, "Unlaced", and [...] loved that it was the perfect representation of "then" versus "now". She also performed live at the German musical events Wave Gotik Treffen and M'era Luna Festival in 2007. She later released A Bit o' This & That: a rarities album of her covers, including songs from The Beatles and The Smiths, classical pieces, and her own songs. In 2008, she released the EP 4 o'Clock, which contained remixes of songs from Opheliac, new songs, and a reading from her autobiographical novel The Asylum for Wayward Victorian Girls. She also released another EP, Girls Just Wanna Have Fun &Bohemian Rhapsody, the same year. A year later, Autumn broke away from Trisol Music Group to join The End Records and re-release Opheliac in the United States on October 27, 2009; previously, it was only available there as an import. The re-release included extras such as pictures, bonus tracks, an excerpt from The Asylum for Wayward Victorian Girls, and a video.
In addition to releasing her own material, Autumn collaborated with other musicians. She contributed backing vocals and violin to the track "Dry" by Die Warzau and made an appearance in the band's music video for "Born Again". She played violin on the song "UR A WMN NOW" from OTEP's 2009 album, Smash the Control Machine. Additionally, two of her tracks appeared in film soundtracks: "Organ Grinder" from 4 o'Clock on the European edition of Saw III and a remixed version of "Dead Is The New Alive" from Opheliac on the international version of Saw IV.
2010–present: The Asylum for Wayward Victorian Girls and Fight Like a Girl
Autumn's debut novel, The Asylum for Wayward Victorian Girls, was self-published in late 2009, with a second edition following in 2010. Because of the book's nature and possible autobiographical sections, she claimed its release was delayed because some did not want it published. The book combines Autumn's own real life journal entries, including those chronicling her time in a psych ward, and the diary of a fictional Victorian-era asylum inmate named "Emily". Autumn has said that the intent of the book was to show "there’s very little difference from asylums for ladies in 1841 and the ones for us now," and that the subject of mental illness remains misunderstood.
In June 2010, Autumn released the acronym of her upcoming album, F.L.A.G., on her Twitter account, before revealing the full title as Fight Like a Girl. In her words, the meaning behind the title is "about taking all these things that make women the underdogs and using them to your advantage". Based on her novel, The Asylum for Wayward Victorian Girls, the album has been described as "an operatic feminist treatise set inside an insane asylum, wherein the female inmates gradually realize their own strength in numbers". On August 30, 2010, she announced that she would be undergoing jaw surgery, and had to postpone her North American tour dates while she recovered. In September 2011, she posted the full lyrics to the album's title track, "Fight Like a Girl", on her Twitter account. Autumn appeared at the 2011 Harvest Festival in Australia, and had planned to debut two songs from Fight Like a Girl during those performances. On April 11, 2012, Autumn released the single "Fight Like a Girl", with the song "Time for Tea" appearing as a B-side.
On April 16, 2012, Autumn announced her plans to debut a three-hour musical adaptation of her autobiographical novel on London's West End theatre in 2014. According to her interview with Mulatschag, she has plans to play the roles of both protagonists, Emilie and Emily.
In late 2011, a twelve-minute teaser was released for Darren Lynn Bousman and Terrance Zdunich's project The Devil's Carnival, featuring Autumn as The Painted Doll, her first major acting role. The film was released in April 2012. "Bloody Crumpets" members Beth "The Blessed Contessa" Hinderliter and Maggie "Captain Maggot" Lally also appear in the film as Woe-Maidens.
On June 13, 2012, Autumn announced on her blog the release date of Fight Like a Girl, which was on July 24 of the same year.
In 2013, Autumn produced and starred in her first ever music video, directed by Darren Lynn Bousman, for the song "Fight Like a Girl". Also appearing in the video are Autumn's Devil's Carnival co-stars Dayton Callie and Marc Senter, as well as Veronica Varlow, among others.
In 2014, it was announced that Autumn would be appearing at a handful of dates on the 2014 Vans Warped Tour with an installation called "The Asylum Experience", which will include music, burlesque, circus sideshow attractions and theater.
On September 22, 2018, she released The Asylum for Wayward Victorian Girls: Behind the Musical, an album with songs made for her upcoming musical.
On November 3, 2021, Autumn released the single The Passenger, a cover of the song by Iggy Pop, marking her first official release in three years.
Influences and musical style
Her music encompasses a wide range of styles. Autumn's vocal range is contralto, but also has the ability to perform in the dramatic soprano range. Her vocal work has been compared to Tori Amos, Kate Bush, and The Creatures. She has released two instrumental albums (On a Day... and Laced/Unlaced), and four featuring her vocals: Enchant, Opheliac, A Bit o' This & That, and "Fight Like a Girl". The 2003 album Enchant drew on "new age chamber music, trip hop baroque, and experimental space pop". Autumn layers her voice frequently, and incorporates electronics and electronic effects into her work on Enchant; she also combines strings and piano for some songs, while others feature mainly the piano or violin. The 2006 release Opheliac featured "cabaret, electronic, symphonic, new age, and good ol' rock & roll (and heavy on the theatrical bombast)".
A classically trained musician, Autumn is influenced by plays, novels, and history, particularly the Victorian era. She enjoys the works of Shakespeare, Elizabeth Barrett Browning and husband Robert, and Edgar Allan Poe. She incorporates sounds resembling Victorian machinery such as locomotives, which she noted was "sort of a steampunk thing". While a young Autumn cited Itzhak Perlman as an influence because of the happiness she believed he felt when he played, her main musical influence and inspiration is the English violinist Nigel Kennedy. Her favorite singer is Morrissey from The Smiths. She takes inspiration for her songs from her life experiences and mixes in "layers and layers of references, connections, other stories and metaphors". Autumn has variously described her music and style as "Psychotic Vaudeville Burlesque", "Victoriandustrial'", a term she coined, and glam rock because of her use of glitter onstage. According to Autumn, her music "wasn't meant to be cutesy" and is labeled as "industrial" mainly because of her use of drums and yelling. Her adaption of "O Mistress Mine" was praised by author and theater director
Barry Edelstein as "a ravishing, guaranteed tearjerker".
For her live performances, which she calls dinner theatre because of her practice of throwing tea and tea-time snacks off of the stage, Autumn makes use of burlesque—"a show that was mainly using humour and sexuality to make a mockery of things that were going on socially and politically"—to counterbalance the more morbid topics discussed in her music, such as abuse, suicide and self-mutilation. Her shows feature handmade costumes, fire tricks, theatrics, and her all-female backing band, The Bloody Crumpets, a group whose members have variously included burlesque performer Veronica Varlow as The Naughty Veronica, performance artist Maggie Lally as Captain Maggot, Jill Evyn as Lady Amalthea (or Moth), actress and performer Beth Hinderliter as The Blessed Contessa, actress Aprella Godfrey Barule as Lady Aprella, German musician Lucina as Little Lucina, cellist Sarah Kim as Lady Joo Hee, German costume designer Vecona as Captain Vecona, Jesselynn Desmond as Little Miss Sugarless, and Ulorin Vex. Her intention is for the live shows to be a statement of "anti-repression" and empowerment.
Personal life
She keeps a ritual of drawing a heart on her cheek as a symbol of protection.
Autumn became vegetarian at age eleven after being unable to rationalize why she should eat farm animals but not her pet dog; in her late-teens, she became vegan. She has stated she believes that there is a link between the treatment of women and animals in society. In August 2014, Autumn said she had developed copper toxicity and was no longer vegan, although still a committed vegetarian.
In 2021, Autumn adopted a Toy Manchester Terrier, who she named Darjeeling.
She has endorsed companies such as Manic Panic and Samson Tech.
Autumn has bipolar disorder, which she has discussed in a number of interviews.
Discography
Studio albums
Enchant (2003)
Opheliac (2006)
Fight Like a Girl (2012)
The Asylum for Wayward Victorian Girls: Behind the Musical (2018)
Instrumental albums
On a Day... (2000)
Laced/Unlaced (2007)
Concert tours
The Asylum Tour - 2007
The Plague Tour - 2008
The Gate Tour - 2008-2009
The Key Tour - 2009
The Door Tour - 2011
The Fight Like a Girl Tour - 2011-2012
Bibliography
Across the Sky & Other Poems (2000)
Your Sugar Sits Untouched (2005)
The Asylum for Wayward Victorian Girls (2009)
Filmography
11-11-11 as 11'er in Video (2011) Uncredited
The Devil's Carnival (2012) as Painted Doll
Alleluia! The Devil's Carnival as June / The Painted Doll
Notes
References
External links
Emilie Autumn MetalBlast.net interview, April 17, 2012.
Interview with Emilie Autumn
1979 births
21st-century American poets
21st-century American singers
American contraltos
American electronic musicians
American feminists
American harpsichordists
American industrial musicians
American people of German descent
American rock violinists
American women poets
Dark cabaret musicians
Women rock singers
Feminist musicians
Living people
Metropolis Records artists
Singers from California
Singers from Chicago
People with bipolar disorder
American women in electronic music
Writers from California
Writers from Illinois
21st-century American women singers
Electric violinists
21st-century violinists
Women harpsichordists
Steampunk music
Women in punk
| false |
[
"K.O.B. Live (Kings of Bachata Live) is the second live album released by Bachata group Aventura. This album was based on there greatest hits perform live in 3 U.S. locations which were New York City, Boston, and Puerto Rico. Also in 2 countries which were Dominican Republic, and Colombia. it also includes skits talking about each of these places. It also contains five studio songs as well. Three of them reached the top of billboard charts. This is their most successful live album to this day and because of the studio songs included, it is seen and treated as a studio album, especially when people talk about all there studio albums in order.\n\nTrack listing\n\nCharts\n\nWeekly charts\n\nYear-end charts\n\nSales and certifications\n\nSee also\nList of number-one Billboard Tropical Albums from the 2000s\n\nReferences\n\nExternal links\nAventura official site\n\nAventura (band) live albums\n2006 live albums\n2006 video albums\nLive video albums\nSpanish-language live albums",
"Activ was a Romanian europop/eurodance band. The members (Oana, Rudi and Avi) are from Arad and Timișoara.\n\nSuccess\nThe albums Motive and Superstar were quite successful. Hit songs from these albums included \"Visez 2004\" (\"I Dream\") from Motive, \"Superstar\", \"Zile cu Tine\" (\"Days with You\") and \"Lucruri simple\" (\"Simple Things\") from Superstar. The album Everyday contains many songs in English included the hit singles: \"Reasons\", \"Without U\", \"Music Is Drivin Me Crazy\", \"Feel good\" (feat. DJ Optick) and \"Under my skin\".\n\nThe group split in 2010.\n\nDiscography\n\nSunete (1999)\nÎn Transă (2002)\nMotive (2004)\nSuperstar (2005)\nEveryday (2007)\n\nExternal links\n Activ - Official Site\n Forum Activ\n\nActiv"
] |
[
"Ara Parseghian",
"Turnaround and the 1964 season"
] |
C_a814950faee84faa853ccca12c4d78a4_1
|
Was the 1964 season successful?
| 1 |
Was Ara Parseghian's 1964 season successful?
|
Ara Parseghian
|
Parseghian quickly turned things around in 1964; he re-established a sense of confidence and team spirit that had been lost under Kuharich and Devore. Practices were carefully planned and organized with the help of a coaching staff that consisted of three assistants from Northwestern and four former Notre Dame players. Parseghian listened to players' concerns about the program and addressed them. He invigorated the team's offense by favoring passing and bringing in smaller and quicker players. A rule change allowing unlimited substitutions starting in 1964 helped make this strategy successful; fast-running receivers could now be taken out of the game and rested as others replaced them. Parseghian also recognized talent in quarterback John Huarte and wide receiver Jack Snow, who had been used only sparingly for two seasons by previous coaches. Huarte could throw far and accurately but was soft-spoken, a trait Parseghian and his staff helped change. Snow was large for a receiver of his era, but Parseghian thought his athleticism and sure hands would make him a good wideout. Still, expectations were muted for the 1964 season: Parseghian told his coaches that the team would have a 6-4 record if they were lucky. Sports Illustrated predicted a 5-5 record at best, and the team did not rank among the top 20 programs in the country in the pre-season AP Poll. Notre Dame nonetheless opened the season with a 31-7 victory over heavily favored Wisconsin, a game in which Huarte threw for more yards than the team's leading passer had over the entire 1963 season. Notre Dame players carried Parseghian off the field after the win, which vaulted the team to ninth place in the polls. A string of victories followed, first against Purdue and then Air Force and UCLA. Notre Dame rose to first place in the national polls following a 40-0 win over Navy in October. The team went undefeated until the last game of the year against USC, who won 20-17 in the final minutes on a touchdown pass from Craig Fertig to Rod Sherman. The loss unseated Notre Dame from the top ranking in the national polls, but the team still won the MacArthur Trophy, a championship awarded by the National Football Foundation. Huarte passed for 2,062 yards and set 12 school records in 1964, four of which still stood as of 2009. He also won the Heisman Trophy. Snow led the country in receptions, with 60. Parseghian, meanwhile, won numerous coach of the year awards for engineering the turnaround, including from the American Football Coaches Association, the Football Writers Association of America, the Washington Touchdown Club, the Columbus Touchdown Club, and Football News. Huarte and Snow graduated after the 1964 season, and Notre Dame felt their absence the following year, posting a 7-2-1 record. While the team did not contend for a national title, defensive back Nick Rassas led the nation in punt returns and came in sixth in interceptions; he was named a first-team All-American by sportswriters. CANNOTANSWER
|
Notre Dame nonetheless opened the season with a 31-7 victory over heavily favored Wisconsin,
|
Ara Raoul Parseghian (; ; May 21, 1923 – August 2, 2017) was an American football player and coach who guided the University of Notre Dame to national championships in 1966 and 1973. He is noted for bringing Notre Dame's Fighting Irish football program back from years of futility into national prominence in 1964 and is widely regarded alongside Knute Rockne and Frank Leahy as a part of the "Holy Trinity" of Notre Dame head coaches.
Parseghian grew up in Akron, Ohio and played football beginning in his junior year of high school. He enrolled at the University of Akron, but soon quit to join the U.S. Navy for two years during World War II. After the war, he finished his college career at Miami University in Ohio and went on to play halfback for the Cleveland Browns of the All-America Football Conference in 1948 and 1949. Cleveland won the league championship both of those years.
Parseghian's playing career was cut short by a hip injury. He left the Browns and took a job as an assistant coach at Miami of Ohio. When head coach Woody Hayes left in 1951 to coach at Ohio State University, Parseghian took over his job. He stayed in that position until 1956, when he was hired as head coach at Northwestern University in Illinois. In eight seasons there, he amassed a win-loss-tie record of 36–35–1 and helped turn a perennial loser into a consistent contender in the national polls.
Parseghian's success attracted the interest of Notre Dame, which had not posted a winning record in five straight seasons. He was hired as coach in 1964 and quickly turned the program around, coming close to capturing a national championship in his first year. He proceeded to win two national titles in 11 seasons as coach of the Fighting Irish, a period often referred to as "the Era of Ara". During that span, Parseghian's teams placed in the top ten of the final AP poll nine times and never finished lower than 14th. He never had a losing season at Notre Dame and posted an overall record of 95–17–4, giving him the fourth-most wins of any coach in school history after Rockne (105), Brian Kelly (101) and Lou Holtz (100). Parseghian's .836 winning percentage while at Notre Dame ranks behind only Rockne's .881 and Leahy's .855, leading to his inclusion in the "Holy Trinity" of Fighting Irish coaches.
Parseghian retired from coaching in 1974 and began a broadcasting career calling college football games for ABC and CBS. He also dedicated himself to medical causes later in life after his daughter was diagnosed with multiple sclerosis and three of his grandchildren died of a rare genetic disease. Parseghian was inducted into the College Football Hall of Fame as a coach in 1980. His career coaching record is 170–58–6.
Early life and high school
Parseghian was the youngest of three children born to an Armenian father and a French mother in Akron, Ohio. His father Michael had come to the United States from the Ottoman Empire in 1915, fleeing the Armenian genocide during World War I and settling in Akron where there was a large Armenian population. Despite his mother's protectiveness, Parseghian became involved in sports from an early age and developed a reputation as the toughest kid in his class. He was hired by Akron's Board of Education in the eighth grade to patrol his school's grounds at night to deter vandals.
Parseghian played basketball at the local YMCA but did not play organized football until his junior year at South High School in Akron because his mother would not allow him to participate in contact sports. He joined his high school team, coached by Frank "Doc" Wargo, initially without his parents' permission.
College and professional career
After graduating in 1942, Parseghian enrolled at the University of Akron. American involvement in World War II began after the attack on Pearl Harbor in 1941, however, and he quit school to join the U.S. Navy. The Navy transferred him for training to Naval Station Great Lakes near Chicago, where Paul Brown was coaching a service football team. Brown was a well-known high school coach in Ohio, having led his Massillon Washington High School teams to a series of state championships. Parseghian was named the team's starting fullback before the 1944 season, but he was sidelined with an ankle injury and did not play in any games as Great Lakes amassed a 9–2–1 record and was ranked 17th in the nation in the AP Poll. Parseghian later said that despite not playing, watching Brown's methodical and strict coaching methods – and the ease with which he commanded players much larger than he was – was a "priceless" experience.
After his military service, Parseghian enrolled at Miami of Ohio and played halfback on the school's football team in 1946 and 1947 under coach Sid Gillman. As with Brown, Parseghian paid close attention to Gillman, a post-war football pioneer who helped popularize deep downfield passes as the T formation came into vogue. He was named an All-Ohio halfback and a Little All-American by sportswriters in 1947.
Parseghian was selected by the Pittsburgh Steelers of the National Football League in the 13th round of the 1947 draft. He was also selected by the Cleveland Browns of the rival All-America Football Conference (AAFC), a team coached by Paul Brown, his old Great Lakes coach. Parseghian left Miami with six semester credit hours remaining and signed with the Browns.
Parseghian played halfback and defensive back for the Browns starting in 1948. While he only started one game that season, he was part of a potent offensive backfield that featured quarterback Otto Graham and fullback Marion Motley. The Browns won all of their games and a third straight AAFC championship in 1948. Parseghian suffered a serious injury to his hip in the second game of the 1949 season against the Baltimore Colts, however, ending his playing career. He stayed with the Browns for the rest of the season, and the team went on to win another AAFC championship. With the Browns, he had 44 carries for 166 yards, three receptions for 33 yards, scored two touchdowns, and intercepted one pass.
Coaching career
Miami (Ohio)
Parseghian's injury and the end of his professional playing career were a source of frustration, but he soon got the chance to move into the coaching ranks. Woody Hayes, the head coach at Miami of Ohio, contacted him about a job as coach of the freshman team. He was recommended for the position by athletic director John Brickels, who had been an assistant coach with the Browns in 1948. Parseghian led the freshmen to a 4–0 record in the 1950 season and was chosen the following year as Hayes's successor when Hayes departed to become head coach at Ohio State University.
Parseghian's teams at Miami consistently did well in the Mid-American Conference, posting a 7–3 record in 1951 and improving to 8–1 the following year. Miami's Redskins (now known as RedHawks) were conference champions in 1954 and in 1955, when they went undefeated. Parseghian's success, which included two wins over larger Big Ten Conference schools, raised his profile nationally as a head coaching prospect. In late 1955, he was hired to coach at Northwestern University in Evanston, Illinois, one of the Big Ten schools Miami had beaten. Parseghian compiled a 39–6–1 record in five seasons at Miami.
Northwestern
Northwestern's football program was in transition when Parseghian arrived in 1956 to take over the coaching reins. Bob Voigts had quit as head coach in February 1955, leaving his assistant Lou Saban to guide the team. Under Saban, a former Browns teammate of Parseghian's, Northwestern finished at 0–8–1, the worst-ever record in its history at the time. Ted Payseur, the school's athletic director, resigned after the season under pressure from alumni and was replaced by Stu Holcomb. One of Holcomb's first moves was to fire Saban and replace him with Parseghian.
Parseghian was the 20th head coach of the Northwestern Wildcats football team and was the youngest coach in the Big Ten when he took the job at 32 years old. His Northwestern career began in 1956 with just one win in his first six games. The Wildcats put together three wins at the end of the season, however, and finished with a 4–4–1 record. Northwestern proceeded to lose all nine of its games in the 1957 season. Bo Schembechler—a member of the 1957 Northwestern staff and teammate of Parshegian's at Miami—called Parshegian's performance during the 1957 season the best job of coaching Schembechler ever witnessed. Despite the losses (many of them by close margins), Parshegian kept his team united and focused. That crucible set the stage for a much more successful campaign in 1958, when Northwestern finished with a 5–4 record that included victories over conference rivals Michigan and Ohio State.
Northwestern began the 1959 season in the top ten in the AP Poll and started with a 45–13 win over Oklahoma, then the top-ranked team in the country. It was the first of a string of victories that propelled Northwestern to the number-two spot in the AP Poll. Led by quarterback John Talley and star halfback Ron Burton, the team beat Michigan again and won a match-up in October against Notre Dame, a school Northwestern had not played since 1948. Three straight losses at the end of the season ended the team's run at the conference championship, however.
The following four seasons brought a mix of success and challenges. Parseghian's best year at Northwestern was in 1962, when the team finished at 7–2. Parseghian was a shrewd recruiter, using Northwestern's small budget to find versatile players overlooked by the bigger rival programs. In 1962, he put his faith in sophomore quarterback Tom Myers to guide the team. Myers, aided by a big offensive line and by star receiver Paul Flatley, led a passing attack that helped Northwestern to the top of the AP Poll in the middle of the season following wins against Ohio State and Notre Dame. Parseghian called the close win against Hayes and Ohio State "one of Northwestern's greatest victories". The following week's Notre Dame game drew a 55,752 people, which remained the largest crowd ever to see a home game at Northwestern as of 2005. Despite those wins, late-season losses to Michigan State and Wisconsin cost the team a chance at the Big Ten championship.
At Northwestern, Parseghian developed a reputation as an affable, down-to-earth coach. While he took his job seriously, he cultivated an informal rapport with players, who called him "Ara" rather than "coach" or "Mr. Parseghian". Given his closeness in age to many of the players, he "empathizes with us well", Northwestern tackle Andy Cvercko said in 1959. Parseghian occasionally joined in practices with the players and organized games of touch football. He had other quirks, like lowering the intensity of practices as game day approached to let the players "build up psychologically", something he learned from Paul Brown.
Parseghian remained at Northwestern for eight seasons until 1963. His career coaching record there was 36–35–1. This ranks him third at Northwestern in total wins and ninth at Northwestern in winning percentage. Parseghian's teams beat Notre Dame four straight times after their annual series was renewed in 1959 following a decade-long hiatus.
Toward the end of his tenure at Northwestern, Parseghian grew frustrated by the school's limited financial resources, curbs on football scholarships, and academic standards for athletes that were more stringent than at other Big Ten schools. He also clashed with athletic director Holcomb, who told him in 1963 that his contract would not be renewed after that season despite coaching the team to within two wins of a national championship the previous year. "I took them to the top of the polls in 1962, and that was not good enough for Northwestern", Parseghian said many years later.
Notre Dame
Parseghian's coaching career at Northwestern was approaching its end in 1963. In November of that year, he called Father Edmund Joyce, the vice president and chairman of the athletics board at Notre Dame, a Catholic university near South Bend, Indiana. He asked whether interim head football coach Hugh Devore was going to be given the job on a longer-term basis. When Joyce said the university was searching for a new coach, Parseghian expressed an interest in the job. Joyce did not immediately seem warm to the idea, however, and Parseghian explored an offer to coach at the University of Miami in Florida, where his old friend Andy Gustafson had been promoted from head coach to athletic director. Notre Dame was also considering Dan Devine for its coaching job but ultimately offered it to Parseghian. Parseghian waffled at first, recalling his father's misguided anti-Catholicism, but accepted in December and was given a salary of about $20,000 a year ($ today).
Parseghian's candidacy for the head coaching job at Notre Dame was unusual because he was not a Notre Dame graduate, as every head coach since Knute Rockne had been. Parseghian was also an Armenian Presbyterian, making him the first non-Catholic coach since Rockne, who converted in 1925. Before hiring Parseghian, Joyce made it clear that he did not care about Parseghian's religion but simply wanted someone who could lead the football team to success.
As had been the case at Northwestern, Notre Dame's football program was in a state of flux when Parseghian arrived. Notre Dame had built a proud history under Rockne and Frank Leahy (its two most successful coaches), but the late 1950s and early 1960s had been a disaster. The team had finished 5–5 in 1962 under Joe Kuharich, who lost the confidence of his players and Notre Dame's administrators during his four years as coach. Kuharich's surprise departure at the end of that season to become supervisor of officials in the National Football League, a position created by his friend and NFL commissioner Pete Rozelle, left the program in disarray. Devore, a long-time Notre Dame employee who had played for Rockne and coached under Leahy, was brought in to lead the team on an interim basis in 1963. Notre Dame managed only a 2–7 finish that year.
Turnaround and the 1964 season
Parseghian quickly turned the program around in 1964; he re-established a sense of confidence and team spirit that had been lost under Kuharich and Devore. Practices were carefully planned and organized with the help of a coaching staff that consisted of three assistants from Northwestern and four former Notre Dame players. Parseghian listened to players' concerns about the program and addressed them. He invigorated the team's offense by favoring passing and bringing in smaller and quicker players. A rule change allowing unlimited substitutions starting in 1964 helped make this strategy successful; fast-running receivers could now be taken out of the game and rested as others replaced them.
Parseghian also recognized talent in quarterback John Huarte and wide receiver Jack Snow, who had been used only sparingly for two seasons by previous coaches. Huarte could throw far and accurately but was soft-spoken, a trait Parseghian and his staff helped change. Snow was large for a receiver of his era, but Parseghian thought his athleticism and sure hands would make him a good wideout. Still, expectations were muted for the 1964 season: Parseghian told his coaches that the team would have a 6–4 record if they were lucky. Sports Illustrated predicted a 5–5 record at best, and the team did not rank among the top 20 programs in the country in the pre-season AP Poll.
Notre Dame nonetheless opened the season with a 31–7 victory over heavily favored Wisconsin, a game in which Huarte threw for more yards than the team's leading passer had over the entire 1963 season. Notre Dame players carried Parseghian off the field after the win, which vaulted the team to ninth place in the polls. A string of victories followed, first against Purdue and then Air Force and UCLA. Notre Dame rose to first place in the national polls following a 40–0 win over Navy in October. The team went undefeated until the last game of the year against USC, who won 20–17 in the final minutes on a touchdown pass from Craig Fertig to Rod Sherman. The loss unseated Notre Dame from the top ranking in the national polls, but the team still won the MacArthur Trophy, a championship awarded by the National Football Foundation.
Huarte passed for 2,062 yards and set 12 school records in 1964, four of which still stood as of 2009. He also won the Heisman Trophy. Snow led the country in receptions with 60. At the same time, Parseghian won numerous coach of the year awards for engineering the turnaround, including from the American Football Coaches Association, the Football Writers Association of America, the Washington Touchdown Club, the Columbus Touchdown Club, and Football News.
Huarte and Snow graduated after the 1964 season, and Notre Dame felt their absence the following year, posting a 7–2–1 record. While the team did not contend for a national title, defensive back Nick Rassas led the nation in punt returns and came in sixth in interceptions; he was named a first-team All-American by sportswriters.
First national title
In 1966, Parseghian guided Notre Dame to its first national championship since the Leahy era. Led by quarterback Terry Hanratty, running back Nick Eddy, star receiver Jim Seymour, and fullback Larry Conjar, the offense was best in the nation in scoring, with an average of 36.2 points per game. The defense was second in the country in points allowed, thanks to strong performances by linebacker Jim Lynch and defensive end Alan Page.
The season began with eight straight victories, propelling Notre Dame to the top of the national polls. The team then faced Michigan State, which was ranked second in the polls and was also undefeated. The contest, one among a number referred to as the "game of the century", ended in a 10–10 tie. Parseghian was criticized for winding down the clock instead of trying to score despite having the ball in the final seconds of the game. He defended his strategy by maintaining that several key starters had been knocked out of action early in the game and that he did not want to spoil a courageous comeback from a 10–0 deficit by risking a turnover deep in his own territory late in the game. When Parseghian's team trounced USC 51–0 the following week, critics alleged that he ran up the score to impress poll voters who had split the number-one ranking between Notre Dame and Michigan State following the tie. Subsequent to the USC rout, the final wire service polls gave Parseghian's team the national championship, although Notre Dame continued its policy of not participating in a post-season bowl game. Nine members of the team were selected as All-Americans, and Parseghian was named coach of the year by Sporting News.
Several winning seasons followed, but Notre Dame did not repeat as national champion in the late 1960s. In 1969, the team finished with an 8–2–1 record and accepted an invitation to play in the postseason Cotton Bowl. With this game, the school ended a long-standing policy of not playing in bowl games. The university urgently needed money to fund minority scholarships and decided to use the proceeds from bowl games for this purpose. Parseghian's team lost the game, 21–17, to the eventual national champion Texas Longhorns.
Later Notre Dame career
Notre Dame continued to succeed under Parseghian in the early 1970s. Led by senior quarterback Joe Theismann, the team finished second in the polls in 1970 and avenged its Cotton Bowl loss, defeating the Longhorns 24–11 in an upset. In 1973, Parseghian had a perfect season and won a second national championship, topped off by a 24–23 win over Alabama in the Sugar Bowl. Both teams were undefeated going into the game, but Alabama had held the top spot in the national polls. Parseghian was named Coach of the Year by Football News.
Before the start of the 1974 season, several key defensive players were suspended for allegations of sexual misconduct, but charges were never filed. Parseghian called the loss of those key defensive players "a great disappointment". Several other key players were injured. An upset loss to underdog Purdue in the third game of the season derailed the team's hopes to repeat as national champions. The ever-present pressure to win took its toll. In the middle of the season, Parseghian privately decided to resign for the sake of his health. He was also dealing with the deaths of three close friends that year as well as his daughter's battle with multiple sclerosis. He officially stepped down in mid-December after rumors began to surface that he was leaving for a post with another college program or professional team. He said he was "physically exhausted and emotionally drained" after 25 years of coaching and needed a break. His last game was Notre Dame's 13–11 win in a rematch against Alabama in the Orange Bowl. After 11 seasons as head coach of the Fighting Irish, he was succeeded by Dan Devine. His record at Notre Dame was 95–17–4, giving him the second-most wins by any football coach in
the school's history, trailing only Knute Rockne.
Parseghian, who was 51 at the time, said he planned to take at least a year off from coaching before considering a run at a job in the professional ranks. Rumors circulated throughout 1975 that he might return to Notre Dame, but both he and Devine denied them. In December, he finally decided that he would not coach in 1976 despite reportedly being pursued by the New York Jets of the NFL. He would instead host a television show beginning the following fall. He made his last appearance on the sidelines when he coached the college players in the annual Chicago College All-Star Game against the defending Super Bowl champion Pittsburgh Steelers on July 23, 1976, at Chicago's Soldier Field. The game was halted with 1:22 remaining in the third quarter when a torrential thunderstorm broke out; after fans rushed onto the field, play was never resumed. It was the last such game ever played.
During Parseghian's tenure at Notre Dame, the school's long-dormant football rivalry with Michigan was revived through an agreement signed in 1970. The schools, which had not met since 1943, agreed to resume the series with the 1978 season. Notre Dame athletic director Moose Krause orchestrated the deal with Don Canham, his counterpart at Michigan, but Parseghian's friendship with Wolverine head coach Bo Schembechler also played a role. Parseghian and Schembechler were teammates at Miami University in Ohio, and Schembechler served on Parseghian's staff at Northwestern in 1956 and 1957. Schembechler told Parseghian in 1970 that he was looking forward to facing Notre Dame, but Parseghian replied that he would "never have that opportunity".
While at Notre Dame, Parseghian did away with all ornamentation on players' uniforms, eliminating shamrocks and shoulder stripes and switched the team's home jerseys to navy blue. The Irish never wore green jerseys during his tenure. His successful run at Notre Dame is sometimes referred to as the "Era of Ara".
Later life
Parseghian launched a broadcasting career after leaving Notre Dame. He served as a color analyst for ABC Sports from 1975 to 1981 covering a series of regional and national college football games. He moved to CBS Sports in 1982 and covered college games for that network until 1988.
Parseghian, who amassed a career coaching record of 170–58–6 at Miami, Northwestern and Notre Dame, was inducted into the College Football Hall of Fame in 1980. He was inducted into the Miami University Athletic Hall of Fame as part of its charter class in 1969 and became a member of the Indiana Football Hall of Fame in 1984. He was also inducted into the Cotton Bowl Classic Hall of Fame in 2007. Parseghian was awarded an honorary doctorate in humanities by Miami in 1978 and served on the school's board of trustees between 1978 and 1987. He also received an honorary degree from Notre Dame in 1997 and won the Amos Alonzo Stagg Award the same year for his contributions to the sport.
Jason Miller portrayed Parseghian in the 1993 film Rudy, which chronicled Rudy Ruettiger's determination to overcome his small size and dyslexia and play for Notre Dame in 1974. Parseghian saw Ruettiger's drive and placed him on the scout team but resigned at the end of the year. Devine, Parseghian's successor, put Ruettiger in on defense at the end of the final game of the 1975 season, and Ruettiger recorded a sack.
Along with Lou Holtz, Parseghian served as one of two honorary coaches in Notre Dame's 2007 spring game, an annual scrimmage held in April. Holtz's Gold team defeated Parseghian's Blue team, 10–6. The same year, Notre Dame unveiled a statue in Parseghian's honor by sculptor Jerry McKenna, depicting players carrying him off the field in triumph following the 1971 Cotton Bowl victory over Texas. In 2011, Miami also unveiled a statue in his honor to add to the RedHawks' Cradle of Coaches plaza. It shows him wearing a Notre Dame sweater as he kneels and looks ahead to the field.
Parseghian, who was married to the former Kathleen Davis, also became involved with medical causes later in life. Along with Mike and Cindy Parseghian, his son and daughter-in-law, he founded the Ara Parseghian Medical Research Foundation in 1994. The foundation is seeking a cure for Niemann-Pick disease Type C, a genetic disorder affecting children that causes the buildup of cholesterol in cells, resulting in damage to the nervous system and eventually death. Three of his grandchildren, Michael, Marcia, and Christa Parseghian, died from the disease. He was also active in the cause to find a cure for multiple sclerosis; his daughter Karan was diagnosed with the disease.
Parseghian died on August 2, 2017, at his home in Granger, Indiana, at the age of 94. At the time of his death, he was suffering from a post-surgical hip infection after undergoing hip surgery weeks before his death. He was buried in the Cedar Grove Cemetery in Notre Dame, Indiana.
Head coaching record
*Note: before the 1974 season, the final Coaches Poll, also known then as the UPI Poll, was released before the bowl games, so a team that lost its bowl game could still claim the UPI national championship. This was changed as a result of Alabama winning the 1973 Coaches Poll national championship despite losing to Notre Dame in the Sugar Bowl.
Coaching tree
Assistants under Parseghian who became college or professional head coaches:
John Pont: Miami (OH) (1956-1962), Yale Bulldogs (1963-1964), Indiana Hoosiers (1965-1972), Northwestern Wildcats (1973-1977), Mount St. Joseph Lions (1990-1992)
Alex Agase: Northwestern Wildcats (1964-1972), Purdue Boilermakers (1973-1976)
Bo Schembechler: Miami (OH) (1963-1968), Michigan (1969-1989)
Warren Schmakel: Boston University Terriers (1964-1968)
Doc Urich: Buffalo Bulls (1966-1968), Northern Illinois (1969-1970)
Jerry Wampfler: Colorado State Rams (1970-1972)
Ed Chlebek: Eastern Michigan Hurons (1976-1978), Boston College Eagles (1978-1980), Kent State Golden Flashes (1981-1982)
References
Bibliography
Further reading
External links
Ara Parseghian Medical Research Foundation
Cradle of Coaches Archive: A Legacy of Excellence - Ara Parseghian, Miami University Libraries
1923 births
2017 deaths
American football halfbacks
American men's basketball players
College football announcers
Notre Dame Fighting Irish football coaches
Northwestern Wildcats football coaches
Miami RedHawks football coaches
Miami RedHawks football players
Miami RedHawks men's basketball players
College Football Hall of Fame inductees
Cleveland Browns (AAFC) players
Great Lakes Navy Bluejackets football players
Miami University trustees
United States Navy personnel of World War II
United States Navy sailors
Military personnel from Ohio
Players of American football from Akron, Ohio
Basketball players from Akron, Ohio
American Presbyterians
Ethnic Armenian sportspeople
American sportspeople of Armenian descent
American people of French descent
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"The 2006 FC Dallas season was the tenth season of the Major League Soccer team. It was the most successful regular season in franchise history, and was the only time that the team secured the #1 seed in the Western Conference. After an elimination against the Colorado Rapids in a shootout in Game 2 of the Western Conference Semifinals, head coach Colin Clarke was fired and replaced by Steve Morrow. It was also the final season under owner Lamar Hunt, who died soon thereafter.\n\nFinal standings\n\nRegular season\n\nPlayoffs\n\nWestern Conference Semifinals\n\nU.S. Open Cup\n\nExternal links\n Season statistics\n\n2006\nDallas\nFC Dallas"
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"Notre Dame nonetheless opened the season with a 31-7 victory over heavily favored Wisconsin,"
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C_a814950faee84faa853ccca12c4d78a4_1
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Any players of note?
| 2 |
Any players of note in the 1964 Notre Dame vs Wisconsin game?
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Ara Parseghian
|
Parseghian quickly turned things around in 1964; he re-established a sense of confidence and team spirit that had been lost under Kuharich and Devore. Practices were carefully planned and organized with the help of a coaching staff that consisted of three assistants from Northwestern and four former Notre Dame players. Parseghian listened to players' concerns about the program and addressed them. He invigorated the team's offense by favoring passing and bringing in smaller and quicker players. A rule change allowing unlimited substitutions starting in 1964 helped make this strategy successful; fast-running receivers could now be taken out of the game and rested as others replaced them. Parseghian also recognized talent in quarterback John Huarte and wide receiver Jack Snow, who had been used only sparingly for two seasons by previous coaches. Huarte could throw far and accurately but was soft-spoken, a trait Parseghian and his staff helped change. Snow was large for a receiver of his era, but Parseghian thought his athleticism and sure hands would make him a good wideout. Still, expectations were muted for the 1964 season: Parseghian told his coaches that the team would have a 6-4 record if they were lucky. Sports Illustrated predicted a 5-5 record at best, and the team did not rank among the top 20 programs in the country in the pre-season AP Poll. Notre Dame nonetheless opened the season with a 31-7 victory over heavily favored Wisconsin, a game in which Huarte threw for more yards than the team's leading passer had over the entire 1963 season. Notre Dame players carried Parseghian off the field after the win, which vaulted the team to ninth place in the polls. A string of victories followed, first against Purdue and then Air Force and UCLA. Notre Dame rose to first place in the national polls following a 40-0 win over Navy in October. The team went undefeated until the last game of the year against USC, who won 20-17 in the final minutes on a touchdown pass from Craig Fertig to Rod Sherman. The loss unseated Notre Dame from the top ranking in the national polls, but the team still won the MacArthur Trophy, a championship awarded by the National Football Foundation. Huarte passed for 2,062 yards and set 12 school records in 1964, four of which still stood as of 2009. He also won the Heisman Trophy. Snow led the country in receptions, with 60. Parseghian, meanwhile, won numerous coach of the year awards for engineering the turnaround, including from the American Football Coaches Association, the Football Writers Association of America, the Washington Touchdown Club, the Columbus Touchdown Club, and Football News. Huarte and Snow graduated after the 1964 season, and Notre Dame felt their absence the following year, posting a 7-2-1 record. While the team did not contend for a national title, defensive back Nick Rassas led the nation in punt returns and came in sixth in interceptions; he was named a first-team All-American by sportswriters. CANNOTANSWER
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Parseghian also recognized talent in quarterback John Huarte and wide receiver Jack Snow, who had been used only sparingly for two seasons by previous coaches.
|
Ara Raoul Parseghian (; ; May 21, 1923 – August 2, 2017) was an American football player and coach who guided the University of Notre Dame to national championships in 1966 and 1973. He is noted for bringing Notre Dame's Fighting Irish football program back from years of futility into national prominence in 1964 and is widely regarded alongside Knute Rockne and Frank Leahy as a part of the "Holy Trinity" of Notre Dame head coaches.
Parseghian grew up in Akron, Ohio and played football beginning in his junior year of high school. He enrolled at the University of Akron, but soon quit to join the U.S. Navy for two years during World War II. After the war, he finished his college career at Miami University in Ohio and went on to play halfback for the Cleveland Browns of the All-America Football Conference in 1948 and 1949. Cleveland won the league championship both of those years.
Parseghian's playing career was cut short by a hip injury. He left the Browns and took a job as an assistant coach at Miami of Ohio. When head coach Woody Hayes left in 1951 to coach at Ohio State University, Parseghian took over his job. He stayed in that position until 1956, when he was hired as head coach at Northwestern University in Illinois. In eight seasons there, he amassed a win-loss-tie record of 36–35–1 and helped turn a perennial loser into a consistent contender in the national polls.
Parseghian's success attracted the interest of Notre Dame, which had not posted a winning record in five straight seasons. He was hired as coach in 1964 and quickly turned the program around, coming close to capturing a national championship in his first year. He proceeded to win two national titles in 11 seasons as coach of the Fighting Irish, a period often referred to as "the Era of Ara". During that span, Parseghian's teams placed in the top ten of the final AP poll nine times and never finished lower than 14th. He never had a losing season at Notre Dame and posted an overall record of 95–17–4, giving him the fourth-most wins of any coach in school history after Rockne (105), Brian Kelly (101) and Lou Holtz (100). Parseghian's .836 winning percentage while at Notre Dame ranks behind only Rockne's .881 and Leahy's .855, leading to his inclusion in the "Holy Trinity" of Fighting Irish coaches.
Parseghian retired from coaching in 1974 and began a broadcasting career calling college football games for ABC and CBS. He also dedicated himself to medical causes later in life after his daughter was diagnosed with multiple sclerosis and three of his grandchildren died of a rare genetic disease. Parseghian was inducted into the College Football Hall of Fame as a coach in 1980. His career coaching record is 170–58–6.
Early life and high school
Parseghian was the youngest of three children born to an Armenian father and a French mother in Akron, Ohio. His father Michael had come to the United States from the Ottoman Empire in 1915, fleeing the Armenian genocide during World War I and settling in Akron where there was a large Armenian population. Despite his mother's protectiveness, Parseghian became involved in sports from an early age and developed a reputation as the toughest kid in his class. He was hired by Akron's Board of Education in the eighth grade to patrol his school's grounds at night to deter vandals.
Parseghian played basketball at the local YMCA but did not play organized football until his junior year at South High School in Akron because his mother would not allow him to participate in contact sports. He joined his high school team, coached by Frank "Doc" Wargo, initially without his parents' permission.
College and professional career
After graduating in 1942, Parseghian enrolled at the University of Akron. American involvement in World War II began after the attack on Pearl Harbor in 1941, however, and he quit school to join the U.S. Navy. The Navy transferred him for training to Naval Station Great Lakes near Chicago, where Paul Brown was coaching a service football team. Brown was a well-known high school coach in Ohio, having led his Massillon Washington High School teams to a series of state championships. Parseghian was named the team's starting fullback before the 1944 season, but he was sidelined with an ankle injury and did not play in any games as Great Lakes amassed a 9–2–1 record and was ranked 17th in the nation in the AP Poll. Parseghian later said that despite not playing, watching Brown's methodical and strict coaching methods – and the ease with which he commanded players much larger than he was – was a "priceless" experience.
After his military service, Parseghian enrolled at Miami of Ohio and played halfback on the school's football team in 1946 and 1947 under coach Sid Gillman. As with Brown, Parseghian paid close attention to Gillman, a post-war football pioneer who helped popularize deep downfield passes as the T formation came into vogue. He was named an All-Ohio halfback and a Little All-American by sportswriters in 1947.
Parseghian was selected by the Pittsburgh Steelers of the National Football League in the 13th round of the 1947 draft. He was also selected by the Cleveland Browns of the rival All-America Football Conference (AAFC), a team coached by Paul Brown, his old Great Lakes coach. Parseghian left Miami with six semester credit hours remaining and signed with the Browns.
Parseghian played halfback and defensive back for the Browns starting in 1948. While he only started one game that season, he was part of a potent offensive backfield that featured quarterback Otto Graham and fullback Marion Motley. The Browns won all of their games and a third straight AAFC championship in 1948. Parseghian suffered a serious injury to his hip in the second game of the 1949 season against the Baltimore Colts, however, ending his playing career. He stayed with the Browns for the rest of the season, and the team went on to win another AAFC championship. With the Browns, he had 44 carries for 166 yards, three receptions for 33 yards, scored two touchdowns, and intercepted one pass.
Coaching career
Miami (Ohio)
Parseghian's injury and the end of his professional playing career were a source of frustration, but he soon got the chance to move into the coaching ranks. Woody Hayes, the head coach at Miami of Ohio, contacted him about a job as coach of the freshman team. He was recommended for the position by athletic director John Brickels, who had been an assistant coach with the Browns in 1948. Parseghian led the freshmen to a 4–0 record in the 1950 season and was chosen the following year as Hayes's successor when Hayes departed to become head coach at Ohio State University.
Parseghian's teams at Miami consistently did well in the Mid-American Conference, posting a 7–3 record in 1951 and improving to 8–1 the following year. Miami's Redskins (now known as RedHawks) were conference champions in 1954 and in 1955, when they went undefeated. Parseghian's success, which included two wins over larger Big Ten Conference schools, raised his profile nationally as a head coaching prospect. In late 1955, he was hired to coach at Northwestern University in Evanston, Illinois, one of the Big Ten schools Miami had beaten. Parseghian compiled a 39–6–1 record in five seasons at Miami.
Northwestern
Northwestern's football program was in transition when Parseghian arrived in 1956 to take over the coaching reins. Bob Voigts had quit as head coach in February 1955, leaving his assistant Lou Saban to guide the team. Under Saban, a former Browns teammate of Parseghian's, Northwestern finished at 0–8–1, the worst-ever record in its history at the time. Ted Payseur, the school's athletic director, resigned after the season under pressure from alumni and was replaced by Stu Holcomb. One of Holcomb's first moves was to fire Saban and replace him with Parseghian.
Parseghian was the 20th head coach of the Northwestern Wildcats football team and was the youngest coach in the Big Ten when he took the job at 32 years old. His Northwestern career began in 1956 with just one win in his first six games. The Wildcats put together three wins at the end of the season, however, and finished with a 4–4–1 record. Northwestern proceeded to lose all nine of its games in the 1957 season. Bo Schembechler—a member of the 1957 Northwestern staff and teammate of Parshegian's at Miami—called Parshegian's performance during the 1957 season the best job of coaching Schembechler ever witnessed. Despite the losses (many of them by close margins), Parshegian kept his team united and focused. That crucible set the stage for a much more successful campaign in 1958, when Northwestern finished with a 5–4 record that included victories over conference rivals Michigan and Ohio State.
Northwestern began the 1959 season in the top ten in the AP Poll and started with a 45–13 win over Oklahoma, then the top-ranked team in the country. It was the first of a string of victories that propelled Northwestern to the number-two spot in the AP Poll. Led by quarterback John Talley and star halfback Ron Burton, the team beat Michigan again and won a match-up in October against Notre Dame, a school Northwestern had not played since 1948. Three straight losses at the end of the season ended the team's run at the conference championship, however.
The following four seasons brought a mix of success and challenges. Parseghian's best year at Northwestern was in 1962, when the team finished at 7–2. Parseghian was a shrewd recruiter, using Northwestern's small budget to find versatile players overlooked by the bigger rival programs. In 1962, he put his faith in sophomore quarterback Tom Myers to guide the team. Myers, aided by a big offensive line and by star receiver Paul Flatley, led a passing attack that helped Northwestern to the top of the AP Poll in the middle of the season following wins against Ohio State and Notre Dame. Parseghian called the close win against Hayes and Ohio State "one of Northwestern's greatest victories". The following week's Notre Dame game drew a 55,752 people, which remained the largest crowd ever to see a home game at Northwestern as of 2005. Despite those wins, late-season losses to Michigan State and Wisconsin cost the team a chance at the Big Ten championship.
At Northwestern, Parseghian developed a reputation as an affable, down-to-earth coach. While he took his job seriously, he cultivated an informal rapport with players, who called him "Ara" rather than "coach" or "Mr. Parseghian". Given his closeness in age to many of the players, he "empathizes with us well", Northwestern tackle Andy Cvercko said in 1959. Parseghian occasionally joined in practices with the players and organized games of touch football. He had other quirks, like lowering the intensity of practices as game day approached to let the players "build up psychologically", something he learned from Paul Brown.
Parseghian remained at Northwestern for eight seasons until 1963. His career coaching record there was 36–35–1. This ranks him third at Northwestern in total wins and ninth at Northwestern in winning percentage. Parseghian's teams beat Notre Dame four straight times after their annual series was renewed in 1959 following a decade-long hiatus.
Toward the end of his tenure at Northwestern, Parseghian grew frustrated by the school's limited financial resources, curbs on football scholarships, and academic standards for athletes that were more stringent than at other Big Ten schools. He also clashed with athletic director Holcomb, who told him in 1963 that his contract would not be renewed after that season despite coaching the team to within two wins of a national championship the previous year. "I took them to the top of the polls in 1962, and that was not good enough for Northwestern", Parseghian said many years later.
Notre Dame
Parseghian's coaching career at Northwestern was approaching its end in 1963. In November of that year, he called Father Edmund Joyce, the vice president and chairman of the athletics board at Notre Dame, a Catholic university near South Bend, Indiana. He asked whether interim head football coach Hugh Devore was going to be given the job on a longer-term basis. When Joyce said the university was searching for a new coach, Parseghian expressed an interest in the job. Joyce did not immediately seem warm to the idea, however, and Parseghian explored an offer to coach at the University of Miami in Florida, where his old friend Andy Gustafson had been promoted from head coach to athletic director. Notre Dame was also considering Dan Devine for its coaching job but ultimately offered it to Parseghian. Parseghian waffled at first, recalling his father's misguided anti-Catholicism, but accepted in December and was given a salary of about $20,000 a year ($ today).
Parseghian's candidacy for the head coaching job at Notre Dame was unusual because he was not a Notre Dame graduate, as every head coach since Knute Rockne had been. Parseghian was also an Armenian Presbyterian, making him the first non-Catholic coach since Rockne, who converted in 1925. Before hiring Parseghian, Joyce made it clear that he did not care about Parseghian's religion but simply wanted someone who could lead the football team to success.
As had been the case at Northwestern, Notre Dame's football program was in a state of flux when Parseghian arrived. Notre Dame had built a proud history under Rockne and Frank Leahy (its two most successful coaches), but the late 1950s and early 1960s had been a disaster. The team had finished 5–5 in 1962 under Joe Kuharich, who lost the confidence of his players and Notre Dame's administrators during his four years as coach. Kuharich's surprise departure at the end of that season to become supervisor of officials in the National Football League, a position created by his friend and NFL commissioner Pete Rozelle, left the program in disarray. Devore, a long-time Notre Dame employee who had played for Rockne and coached under Leahy, was brought in to lead the team on an interim basis in 1963. Notre Dame managed only a 2–7 finish that year.
Turnaround and the 1964 season
Parseghian quickly turned the program around in 1964; he re-established a sense of confidence and team spirit that had been lost under Kuharich and Devore. Practices were carefully planned and organized with the help of a coaching staff that consisted of three assistants from Northwestern and four former Notre Dame players. Parseghian listened to players' concerns about the program and addressed them. He invigorated the team's offense by favoring passing and bringing in smaller and quicker players. A rule change allowing unlimited substitutions starting in 1964 helped make this strategy successful; fast-running receivers could now be taken out of the game and rested as others replaced them.
Parseghian also recognized talent in quarterback John Huarte and wide receiver Jack Snow, who had been used only sparingly for two seasons by previous coaches. Huarte could throw far and accurately but was soft-spoken, a trait Parseghian and his staff helped change. Snow was large for a receiver of his era, but Parseghian thought his athleticism and sure hands would make him a good wideout. Still, expectations were muted for the 1964 season: Parseghian told his coaches that the team would have a 6–4 record if they were lucky. Sports Illustrated predicted a 5–5 record at best, and the team did not rank among the top 20 programs in the country in the pre-season AP Poll.
Notre Dame nonetheless opened the season with a 31–7 victory over heavily favored Wisconsin, a game in which Huarte threw for more yards than the team's leading passer had over the entire 1963 season. Notre Dame players carried Parseghian off the field after the win, which vaulted the team to ninth place in the polls. A string of victories followed, first against Purdue and then Air Force and UCLA. Notre Dame rose to first place in the national polls following a 40–0 win over Navy in October. The team went undefeated until the last game of the year against USC, who won 20–17 in the final minutes on a touchdown pass from Craig Fertig to Rod Sherman. The loss unseated Notre Dame from the top ranking in the national polls, but the team still won the MacArthur Trophy, a championship awarded by the National Football Foundation.
Huarte passed for 2,062 yards and set 12 school records in 1964, four of which still stood as of 2009. He also won the Heisman Trophy. Snow led the country in receptions with 60. At the same time, Parseghian won numerous coach of the year awards for engineering the turnaround, including from the American Football Coaches Association, the Football Writers Association of America, the Washington Touchdown Club, the Columbus Touchdown Club, and Football News.
Huarte and Snow graduated after the 1964 season, and Notre Dame felt their absence the following year, posting a 7–2–1 record. While the team did not contend for a national title, defensive back Nick Rassas led the nation in punt returns and came in sixth in interceptions; he was named a first-team All-American by sportswriters.
First national title
In 1966, Parseghian guided Notre Dame to its first national championship since the Leahy era. Led by quarterback Terry Hanratty, running back Nick Eddy, star receiver Jim Seymour, and fullback Larry Conjar, the offense was best in the nation in scoring, with an average of 36.2 points per game. The defense was second in the country in points allowed, thanks to strong performances by linebacker Jim Lynch and defensive end Alan Page.
The season began with eight straight victories, propelling Notre Dame to the top of the national polls. The team then faced Michigan State, which was ranked second in the polls and was also undefeated. The contest, one among a number referred to as the "game of the century", ended in a 10–10 tie. Parseghian was criticized for winding down the clock instead of trying to score despite having the ball in the final seconds of the game. He defended his strategy by maintaining that several key starters had been knocked out of action early in the game and that he did not want to spoil a courageous comeback from a 10–0 deficit by risking a turnover deep in his own territory late in the game. When Parseghian's team trounced USC 51–0 the following week, critics alleged that he ran up the score to impress poll voters who had split the number-one ranking between Notre Dame and Michigan State following the tie. Subsequent to the USC rout, the final wire service polls gave Parseghian's team the national championship, although Notre Dame continued its policy of not participating in a post-season bowl game. Nine members of the team were selected as All-Americans, and Parseghian was named coach of the year by Sporting News.
Several winning seasons followed, but Notre Dame did not repeat as national champion in the late 1960s. In 1969, the team finished with an 8–2–1 record and accepted an invitation to play in the postseason Cotton Bowl. With this game, the school ended a long-standing policy of not playing in bowl games. The university urgently needed money to fund minority scholarships and decided to use the proceeds from bowl games for this purpose. Parseghian's team lost the game, 21–17, to the eventual national champion Texas Longhorns.
Later Notre Dame career
Notre Dame continued to succeed under Parseghian in the early 1970s. Led by senior quarterback Joe Theismann, the team finished second in the polls in 1970 and avenged its Cotton Bowl loss, defeating the Longhorns 24–11 in an upset. In 1973, Parseghian had a perfect season and won a second national championship, topped off by a 24–23 win over Alabama in the Sugar Bowl. Both teams were undefeated going into the game, but Alabama had held the top spot in the national polls. Parseghian was named Coach of the Year by Football News.
Before the start of the 1974 season, several key defensive players were suspended for allegations of sexual misconduct, but charges were never filed. Parseghian called the loss of those key defensive players "a great disappointment". Several other key players were injured. An upset loss to underdog Purdue in the third game of the season derailed the team's hopes to repeat as national champions. The ever-present pressure to win took its toll. In the middle of the season, Parseghian privately decided to resign for the sake of his health. He was also dealing with the deaths of three close friends that year as well as his daughter's battle with multiple sclerosis. He officially stepped down in mid-December after rumors began to surface that he was leaving for a post with another college program or professional team. He said he was "physically exhausted and emotionally drained" after 25 years of coaching and needed a break. His last game was Notre Dame's 13–11 win in a rematch against Alabama in the Orange Bowl. After 11 seasons as head coach of the Fighting Irish, he was succeeded by Dan Devine. His record at Notre Dame was 95–17–4, giving him the second-most wins by any football coach in
the school's history, trailing only Knute Rockne.
Parseghian, who was 51 at the time, said he planned to take at least a year off from coaching before considering a run at a job in the professional ranks. Rumors circulated throughout 1975 that he might return to Notre Dame, but both he and Devine denied them. In December, he finally decided that he would not coach in 1976 despite reportedly being pursued by the New York Jets of the NFL. He would instead host a television show beginning the following fall. He made his last appearance on the sidelines when he coached the college players in the annual Chicago College All-Star Game against the defending Super Bowl champion Pittsburgh Steelers on July 23, 1976, at Chicago's Soldier Field. The game was halted with 1:22 remaining in the third quarter when a torrential thunderstorm broke out; after fans rushed onto the field, play was never resumed. It was the last such game ever played.
During Parseghian's tenure at Notre Dame, the school's long-dormant football rivalry with Michigan was revived through an agreement signed in 1970. The schools, which had not met since 1943, agreed to resume the series with the 1978 season. Notre Dame athletic director Moose Krause orchestrated the deal with Don Canham, his counterpart at Michigan, but Parseghian's friendship with Wolverine head coach Bo Schembechler also played a role. Parseghian and Schembechler were teammates at Miami University in Ohio, and Schembechler served on Parseghian's staff at Northwestern in 1956 and 1957. Schembechler told Parseghian in 1970 that he was looking forward to facing Notre Dame, but Parseghian replied that he would "never have that opportunity".
While at Notre Dame, Parseghian did away with all ornamentation on players' uniforms, eliminating shamrocks and shoulder stripes and switched the team's home jerseys to navy blue. The Irish never wore green jerseys during his tenure. His successful run at Notre Dame is sometimes referred to as the "Era of Ara".
Later life
Parseghian launched a broadcasting career after leaving Notre Dame. He served as a color analyst for ABC Sports from 1975 to 1981 covering a series of regional and national college football games. He moved to CBS Sports in 1982 and covered college games for that network until 1988.
Parseghian, who amassed a career coaching record of 170–58–6 at Miami, Northwestern and Notre Dame, was inducted into the College Football Hall of Fame in 1980. He was inducted into the Miami University Athletic Hall of Fame as part of its charter class in 1969 and became a member of the Indiana Football Hall of Fame in 1984. He was also inducted into the Cotton Bowl Classic Hall of Fame in 2007. Parseghian was awarded an honorary doctorate in humanities by Miami in 1978 and served on the school's board of trustees between 1978 and 1987. He also received an honorary degree from Notre Dame in 1997 and won the Amos Alonzo Stagg Award the same year for his contributions to the sport.
Jason Miller portrayed Parseghian in the 1993 film Rudy, which chronicled Rudy Ruettiger's determination to overcome his small size and dyslexia and play for Notre Dame in 1974. Parseghian saw Ruettiger's drive and placed him on the scout team but resigned at the end of the year. Devine, Parseghian's successor, put Ruettiger in on defense at the end of the final game of the 1975 season, and Ruettiger recorded a sack.
Along with Lou Holtz, Parseghian served as one of two honorary coaches in Notre Dame's 2007 spring game, an annual scrimmage held in April. Holtz's Gold team defeated Parseghian's Blue team, 10–6. The same year, Notre Dame unveiled a statue in Parseghian's honor by sculptor Jerry McKenna, depicting players carrying him off the field in triumph following the 1971 Cotton Bowl victory over Texas. In 2011, Miami also unveiled a statue in his honor to add to the RedHawks' Cradle of Coaches plaza. It shows him wearing a Notre Dame sweater as he kneels and looks ahead to the field.
Parseghian, who was married to the former Kathleen Davis, also became involved with medical causes later in life. Along with Mike and Cindy Parseghian, his son and daughter-in-law, he founded the Ara Parseghian Medical Research Foundation in 1994. The foundation is seeking a cure for Niemann-Pick disease Type C, a genetic disorder affecting children that causes the buildup of cholesterol in cells, resulting in damage to the nervous system and eventually death. Three of his grandchildren, Michael, Marcia, and Christa Parseghian, died from the disease. He was also active in the cause to find a cure for multiple sclerosis; his daughter Karan was diagnosed with the disease.
Parseghian died on August 2, 2017, at his home in Granger, Indiana, at the age of 94. At the time of his death, he was suffering from a post-surgical hip infection after undergoing hip surgery weeks before his death. He was buried in the Cedar Grove Cemetery in Notre Dame, Indiana.
Head coaching record
*Note: before the 1974 season, the final Coaches Poll, also known then as the UPI Poll, was released before the bowl games, so a team that lost its bowl game could still claim the UPI national championship. This was changed as a result of Alabama winning the 1973 Coaches Poll national championship despite losing to Notre Dame in the Sugar Bowl.
Coaching tree
Assistants under Parseghian who became college or professional head coaches:
John Pont: Miami (OH) (1956-1962), Yale Bulldogs (1963-1964), Indiana Hoosiers (1965-1972), Northwestern Wildcats (1973-1977), Mount St. Joseph Lions (1990-1992)
Alex Agase: Northwestern Wildcats (1964-1972), Purdue Boilermakers (1973-1976)
Bo Schembechler: Miami (OH) (1963-1968), Michigan (1969-1989)
Warren Schmakel: Boston University Terriers (1964-1968)
Doc Urich: Buffalo Bulls (1966-1968), Northern Illinois (1969-1970)
Jerry Wampfler: Colorado State Rams (1970-1972)
Ed Chlebek: Eastern Michigan Hurons (1976-1978), Boston College Eagles (1978-1980), Kent State Golden Flashes (1981-1982)
References
Bibliography
Further reading
External links
Ara Parseghian Medical Research Foundation
Cradle of Coaches Archive: A Legacy of Excellence - Ara Parseghian, Miami University Libraries
1923 births
2017 deaths
American football halfbacks
American men's basketball players
College football announcers
Notre Dame Fighting Irish football coaches
Northwestern Wildcats football coaches
Miami RedHawks football coaches
Miami RedHawks football players
Miami RedHawks men's basketball players
College Football Hall of Fame inductees
Cleveland Browns (AAFC) players
Great Lakes Navy Bluejackets football players
Miami University trustees
United States Navy personnel of World War II
United States Navy sailors
Military personnel from Ohio
Players of American football from Akron, Ohio
Basketball players from Akron, Ohio
American Presbyterians
Ethnic Armenian sportspeople
American sportspeople of Armenian descent
American people of French descent
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[
"This article shows all participating team squads at the 1994 FIVB Women's World Championship, held from November 17 to 30 October in Brazil.\n\nHead coach: Faik Karayev\n\nNote: only a selection of 12 players listed below participated at the Championships\n\nHead coach: Bernardo Rezende\n\nHead coach: Li Xiaofeng\nNote: only a selection of 11 players listed below participated at the Championships\n\nHead coach: Eugenio George\n\nHead coach: Milan Kanfka\n\nNote: only a selection of 12 players listed below participated at the Championships\n\nHead coach: Siegfried Kohler\n\nNote: only a selection of 12 players listed below participated at the Championships\n\nHead coach: Tadayoshi Yokota\n\nHead coach: Aurelio Motta\n\nNote: only a selection of 12 players listed below participated at the Championships\n\nHead coach: Cilbert Ohanya\n\nNote: only a selection of 12 players listed below participated at the Championships\n\nHead coach: Chul-Yong Kim\n\nNote: only a selection of 12 players listed below participated at the Championships\n\nHead coach: Bert Goedkoop\n\nNote: only a selection of 12 players listed below participated at the Championships\n\nHead coach: Jong Park Dug\n\nHead coach: Stan Gostinel\n\nHead coach: Nikolai Karpol\n\nHead coach: Volodimir Buzayev\n\nNote: only a selection of 12 players listed below participated at the Championships\n\nHead coach: Taras Liskevych\n\nNote: only a selection of 12 players listed below participated at the Championships\n\nReferences\n\nS\nFIVB Volleyball Women's World Championship squads",
"USA Today named its first All-USA high school football team in 1982. The newspaper has named a team every year since 1982.\n\nIn addition, two members of the team are named the USA Today High School Offensive Player and Defensive Player of the Year, respectively. The newspaper also selects a USA Today High School Football Coach of the Year.\n\nTeams\n\n1990 team\nCoach of the Year: Tim Reynolds (Eisenhower High School, Lawton, Oklahoma)\nNote: Bold denotes Offensive and Defensive Players of the Year, respectively, and ‡ denotes high school juniors\n\nOffense\n\nDefense\n\n1991 team\nCoach of the Year: Gary Guthrie (LaGrange High School, LaGrange, Georgia)\nNote: Bold denotes Offensive and Defensive Players of the Year, respectively, and ‡ denotes high school juniors\n\nOffense\n\nDefense\n\n1992 team\nCoach of the Year: George Curry (Berwick High School, Berwick, Pennsylvania)\nNote: Bold denotes Offensive and Defensive Players of the Year, respectively, and ‡ denotes high school juniors\n\nOffense\n\nDefense\n\n1993 team\nCoach of the Year: Chuck Kyle (St. Ignatius High School, Cleveland, Ohio)\nNote: Bold denotes Offensive and Defensive Players of the Year, respectively, and ‡ denotes high school juniors\n\nOffense\n\nDefense\n\n1994 team\nCoach of the Year: Bruce Rollinson (Mater Dei High School, Santa Ana, California)\nNote: Bold denotes Offensive and Defensive Players of the Year, respectively, and ‡ denotes high school juniors\n\nOffense\n\nDefense\n\n1995 team\nCoach of the Year: Bob Ladouceur (De La Salle High School, Concord, California)\nNote: Bold denotes Offensive and Defensive Players of the Year, respectively, and ‡ denotes high school juniors\n\nOffense\n\nDefense\n\n1996 team\nCoach of the Year: Bruce Rollinson (Mater Dei High School, Santa Ana, California)\nNote: Bold denotes Offensive and Defensive Players of the Year, respectively, and ‡ denotes high school juniors\n\nOffense\n\nDefense\n\n1997 team\nCoach of the Year: Thom McDaniels (McKinley High School, Canton, Ohio)\nNote: Bold denotes Offensive and Defensive Players of the Year, respectively, and ‡ denotes high school juniors\n\nOffense\n\nDefense\n\n1998 team\nCoach of the Year: Bob Ladouceur (De La Salle High School, Concord, California)\nNote: Bold denotes Offensive and Defensive Players of the Year, respectively, and ‡ denotes high school juniors\n\nOffense\n\nDefense\n\n1999 team\nCoach of the Year: John Parchman (Lee High School, Midland, Texas)\nNote: Bold denotes Offensive and Defensive Players of the Year, respectively, and ‡ denotes high school juniors\n\nOffense\n\nDefense\n\nAccumulated stats\n\nReferences\n\nHigh school football trophies and awards in the United States"
] |
[
"Ara Parseghian",
"Turnaround and the 1964 season",
"Was the 1964 season successful?",
"Notre Dame nonetheless opened the season with a 31-7 victory over heavily favored Wisconsin,",
"Any players of note?",
"Parseghian also recognized talent in quarterback John Huarte and wide receiver Jack Snow, who had been used only sparingly for two seasons by previous coaches."
] |
C_a814950faee84faa853ccca12c4d78a4_1
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Did they break any school or other records?
| 3 |
Did John Huarte or Jack Snow break any Notre Dame school or other records?
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Ara Parseghian
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Parseghian quickly turned things around in 1964; he re-established a sense of confidence and team spirit that had been lost under Kuharich and Devore. Practices were carefully planned and organized with the help of a coaching staff that consisted of three assistants from Northwestern and four former Notre Dame players. Parseghian listened to players' concerns about the program and addressed them. He invigorated the team's offense by favoring passing and bringing in smaller and quicker players. A rule change allowing unlimited substitutions starting in 1964 helped make this strategy successful; fast-running receivers could now be taken out of the game and rested as others replaced them. Parseghian also recognized talent in quarterback John Huarte and wide receiver Jack Snow, who had been used only sparingly for two seasons by previous coaches. Huarte could throw far and accurately but was soft-spoken, a trait Parseghian and his staff helped change. Snow was large for a receiver of his era, but Parseghian thought his athleticism and sure hands would make him a good wideout. Still, expectations were muted for the 1964 season: Parseghian told his coaches that the team would have a 6-4 record if they were lucky. Sports Illustrated predicted a 5-5 record at best, and the team did not rank among the top 20 programs in the country in the pre-season AP Poll. Notre Dame nonetheless opened the season with a 31-7 victory over heavily favored Wisconsin, a game in which Huarte threw for more yards than the team's leading passer had over the entire 1963 season. Notre Dame players carried Parseghian off the field after the win, which vaulted the team to ninth place in the polls. A string of victories followed, first against Purdue and then Air Force and UCLA. Notre Dame rose to first place in the national polls following a 40-0 win over Navy in October. The team went undefeated until the last game of the year against USC, who won 20-17 in the final minutes on a touchdown pass from Craig Fertig to Rod Sherman. The loss unseated Notre Dame from the top ranking in the national polls, but the team still won the MacArthur Trophy, a championship awarded by the National Football Foundation. Huarte passed for 2,062 yards and set 12 school records in 1964, four of which still stood as of 2009. He also won the Heisman Trophy. Snow led the country in receptions, with 60. Parseghian, meanwhile, won numerous coach of the year awards for engineering the turnaround, including from the American Football Coaches Association, the Football Writers Association of America, the Washington Touchdown Club, the Columbus Touchdown Club, and Football News. Huarte and Snow graduated after the 1964 season, and Notre Dame felt their absence the following year, posting a 7-2-1 record. While the team did not contend for a national title, defensive back Nick Rassas led the nation in punt returns and came in sixth in interceptions; he was named a first-team All-American by sportswriters. CANNOTANSWER
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Huarte passed for 2,062 yards and set 12 school records in 1964, four of which still stood as of 2009.
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Ara Raoul Parseghian (; ; May 21, 1923 – August 2, 2017) was an American football player and coach who guided the University of Notre Dame to national championships in 1966 and 1973. He is noted for bringing Notre Dame's Fighting Irish football program back from years of futility into national prominence in 1964 and is widely regarded alongside Knute Rockne and Frank Leahy as a part of the "Holy Trinity" of Notre Dame head coaches.
Parseghian grew up in Akron, Ohio and played football beginning in his junior year of high school. He enrolled at the University of Akron, but soon quit to join the U.S. Navy for two years during World War II. After the war, he finished his college career at Miami University in Ohio and went on to play halfback for the Cleveland Browns of the All-America Football Conference in 1948 and 1949. Cleveland won the league championship both of those years.
Parseghian's playing career was cut short by a hip injury. He left the Browns and took a job as an assistant coach at Miami of Ohio. When head coach Woody Hayes left in 1951 to coach at Ohio State University, Parseghian took over his job. He stayed in that position until 1956, when he was hired as head coach at Northwestern University in Illinois. In eight seasons there, he amassed a win-loss-tie record of 36–35–1 and helped turn a perennial loser into a consistent contender in the national polls.
Parseghian's success attracted the interest of Notre Dame, which had not posted a winning record in five straight seasons. He was hired as coach in 1964 and quickly turned the program around, coming close to capturing a national championship in his first year. He proceeded to win two national titles in 11 seasons as coach of the Fighting Irish, a period often referred to as "the Era of Ara". During that span, Parseghian's teams placed in the top ten of the final AP poll nine times and never finished lower than 14th. He never had a losing season at Notre Dame and posted an overall record of 95–17–4, giving him the fourth-most wins of any coach in school history after Rockne (105), Brian Kelly (101) and Lou Holtz (100). Parseghian's .836 winning percentage while at Notre Dame ranks behind only Rockne's .881 and Leahy's .855, leading to his inclusion in the "Holy Trinity" of Fighting Irish coaches.
Parseghian retired from coaching in 1974 and began a broadcasting career calling college football games for ABC and CBS. He also dedicated himself to medical causes later in life after his daughter was diagnosed with multiple sclerosis and three of his grandchildren died of a rare genetic disease. Parseghian was inducted into the College Football Hall of Fame as a coach in 1980. His career coaching record is 170–58–6.
Early life and high school
Parseghian was the youngest of three children born to an Armenian father and a French mother in Akron, Ohio. His father Michael had come to the United States from the Ottoman Empire in 1915, fleeing the Armenian genocide during World War I and settling in Akron where there was a large Armenian population. Despite his mother's protectiveness, Parseghian became involved in sports from an early age and developed a reputation as the toughest kid in his class. He was hired by Akron's Board of Education in the eighth grade to patrol his school's grounds at night to deter vandals.
Parseghian played basketball at the local YMCA but did not play organized football until his junior year at South High School in Akron because his mother would not allow him to participate in contact sports. He joined his high school team, coached by Frank "Doc" Wargo, initially without his parents' permission.
College and professional career
After graduating in 1942, Parseghian enrolled at the University of Akron. American involvement in World War II began after the attack on Pearl Harbor in 1941, however, and he quit school to join the U.S. Navy. The Navy transferred him for training to Naval Station Great Lakes near Chicago, where Paul Brown was coaching a service football team. Brown was a well-known high school coach in Ohio, having led his Massillon Washington High School teams to a series of state championships. Parseghian was named the team's starting fullback before the 1944 season, but he was sidelined with an ankle injury and did not play in any games as Great Lakes amassed a 9–2–1 record and was ranked 17th in the nation in the AP Poll. Parseghian later said that despite not playing, watching Brown's methodical and strict coaching methods – and the ease with which he commanded players much larger than he was – was a "priceless" experience.
After his military service, Parseghian enrolled at Miami of Ohio and played halfback on the school's football team in 1946 and 1947 under coach Sid Gillman. As with Brown, Parseghian paid close attention to Gillman, a post-war football pioneer who helped popularize deep downfield passes as the T formation came into vogue. He was named an All-Ohio halfback and a Little All-American by sportswriters in 1947.
Parseghian was selected by the Pittsburgh Steelers of the National Football League in the 13th round of the 1947 draft. He was also selected by the Cleveland Browns of the rival All-America Football Conference (AAFC), a team coached by Paul Brown, his old Great Lakes coach. Parseghian left Miami with six semester credit hours remaining and signed with the Browns.
Parseghian played halfback and defensive back for the Browns starting in 1948. While he only started one game that season, he was part of a potent offensive backfield that featured quarterback Otto Graham and fullback Marion Motley. The Browns won all of their games and a third straight AAFC championship in 1948. Parseghian suffered a serious injury to his hip in the second game of the 1949 season against the Baltimore Colts, however, ending his playing career. He stayed with the Browns for the rest of the season, and the team went on to win another AAFC championship. With the Browns, he had 44 carries for 166 yards, three receptions for 33 yards, scored two touchdowns, and intercepted one pass.
Coaching career
Miami (Ohio)
Parseghian's injury and the end of his professional playing career were a source of frustration, but he soon got the chance to move into the coaching ranks. Woody Hayes, the head coach at Miami of Ohio, contacted him about a job as coach of the freshman team. He was recommended for the position by athletic director John Brickels, who had been an assistant coach with the Browns in 1948. Parseghian led the freshmen to a 4–0 record in the 1950 season and was chosen the following year as Hayes's successor when Hayes departed to become head coach at Ohio State University.
Parseghian's teams at Miami consistently did well in the Mid-American Conference, posting a 7–3 record in 1951 and improving to 8–1 the following year. Miami's Redskins (now known as RedHawks) were conference champions in 1954 and in 1955, when they went undefeated. Parseghian's success, which included two wins over larger Big Ten Conference schools, raised his profile nationally as a head coaching prospect. In late 1955, he was hired to coach at Northwestern University in Evanston, Illinois, one of the Big Ten schools Miami had beaten. Parseghian compiled a 39–6–1 record in five seasons at Miami.
Northwestern
Northwestern's football program was in transition when Parseghian arrived in 1956 to take over the coaching reins. Bob Voigts had quit as head coach in February 1955, leaving his assistant Lou Saban to guide the team. Under Saban, a former Browns teammate of Parseghian's, Northwestern finished at 0–8–1, the worst-ever record in its history at the time. Ted Payseur, the school's athletic director, resigned after the season under pressure from alumni and was replaced by Stu Holcomb. One of Holcomb's first moves was to fire Saban and replace him with Parseghian.
Parseghian was the 20th head coach of the Northwestern Wildcats football team and was the youngest coach in the Big Ten when he took the job at 32 years old. His Northwestern career began in 1956 with just one win in his first six games. The Wildcats put together three wins at the end of the season, however, and finished with a 4–4–1 record. Northwestern proceeded to lose all nine of its games in the 1957 season. Bo Schembechler—a member of the 1957 Northwestern staff and teammate of Parshegian's at Miami—called Parshegian's performance during the 1957 season the best job of coaching Schembechler ever witnessed. Despite the losses (many of them by close margins), Parshegian kept his team united and focused. That crucible set the stage for a much more successful campaign in 1958, when Northwestern finished with a 5–4 record that included victories over conference rivals Michigan and Ohio State.
Northwestern began the 1959 season in the top ten in the AP Poll and started with a 45–13 win over Oklahoma, then the top-ranked team in the country. It was the first of a string of victories that propelled Northwestern to the number-two spot in the AP Poll. Led by quarterback John Talley and star halfback Ron Burton, the team beat Michigan again and won a match-up in October against Notre Dame, a school Northwestern had not played since 1948. Three straight losses at the end of the season ended the team's run at the conference championship, however.
The following four seasons brought a mix of success and challenges. Parseghian's best year at Northwestern was in 1962, when the team finished at 7–2. Parseghian was a shrewd recruiter, using Northwestern's small budget to find versatile players overlooked by the bigger rival programs. In 1962, he put his faith in sophomore quarterback Tom Myers to guide the team. Myers, aided by a big offensive line and by star receiver Paul Flatley, led a passing attack that helped Northwestern to the top of the AP Poll in the middle of the season following wins against Ohio State and Notre Dame. Parseghian called the close win against Hayes and Ohio State "one of Northwestern's greatest victories". The following week's Notre Dame game drew a 55,752 people, which remained the largest crowd ever to see a home game at Northwestern as of 2005. Despite those wins, late-season losses to Michigan State and Wisconsin cost the team a chance at the Big Ten championship.
At Northwestern, Parseghian developed a reputation as an affable, down-to-earth coach. While he took his job seriously, he cultivated an informal rapport with players, who called him "Ara" rather than "coach" or "Mr. Parseghian". Given his closeness in age to many of the players, he "empathizes with us well", Northwestern tackle Andy Cvercko said in 1959. Parseghian occasionally joined in practices with the players and organized games of touch football. He had other quirks, like lowering the intensity of practices as game day approached to let the players "build up psychologically", something he learned from Paul Brown.
Parseghian remained at Northwestern for eight seasons until 1963. His career coaching record there was 36–35–1. This ranks him third at Northwestern in total wins and ninth at Northwestern in winning percentage. Parseghian's teams beat Notre Dame four straight times after their annual series was renewed in 1959 following a decade-long hiatus.
Toward the end of his tenure at Northwestern, Parseghian grew frustrated by the school's limited financial resources, curbs on football scholarships, and academic standards for athletes that were more stringent than at other Big Ten schools. He also clashed with athletic director Holcomb, who told him in 1963 that his contract would not be renewed after that season despite coaching the team to within two wins of a national championship the previous year. "I took them to the top of the polls in 1962, and that was not good enough for Northwestern", Parseghian said many years later.
Notre Dame
Parseghian's coaching career at Northwestern was approaching its end in 1963. In November of that year, he called Father Edmund Joyce, the vice president and chairman of the athletics board at Notre Dame, a Catholic university near South Bend, Indiana. He asked whether interim head football coach Hugh Devore was going to be given the job on a longer-term basis. When Joyce said the university was searching for a new coach, Parseghian expressed an interest in the job. Joyce did not immediately seem warm to the idea, however, and Parseghian explored an offer to coach at the University of Miami in Florida, where his old friend Andy Gustafson had been promoted from head coach to athletic director. Notre Dame was also considering Dan Devine for its coaching job but ultimately offered it to Parseghian. Parseghian waffled at first, recalling his father's misguided anti-Catholicism, but accepted in December and was given a salary of about $20,000 a year ($ today).
Parseghian's candidacy for the head coaching job at Notre Dame was unusual because he was not a Notre Dame graduate, as every head coach since Knute Rockne had been. Parseghian was also an Armenian Presbyterian, making him the first non-Catholic coach since Rockne, who converted in 1925. Before hiring Parseghian, Joyce made it clear that he did not care about Parseghian's religion but simply wanted someone who could lead the football team to success.
As had been the case at Northwestern, Notre Dame's football program was in a state of flux when Parseghian arrived. Notre Dame had built a proud history under Rockne and Frank Leahy (its two most successful coaches), but the late 1950s and early 1960s had been a disaster. The team had finished 5–5 in 1962 under Joe Kuharich, who lost the confidence of his players and Notre Dame's administrators during his four years as coach. Kuharich's surprise departure at the end of that season to become supervisor of officials in the National Football League, a position created by his friend and NFL commissioner Pete Rozelle, left the program in disarray. Devore, a long-time Notre Dame employee who had played for Rockne and coached under Leahy, was brought in to lead the team on an interim basis in 1963. Notre Dame managed only a 2–7 finish that year.
Turnaround and the 1964 season
Parseghian quickly turned the program around in 1964; he re-established a sense of confidence and team spirit that had been lost under Kuharich and Devore. Practices were carefully planned and organized with the help of a coaching staff that consisted of three assistants from Northwestern and four former Notre Dame players. Parseghian listened to players' concerns about the program and addressed them. He invigorated the team's offense by favoring passing and bringing in smaller and quicker players. A rule change allowing unlimited substitutions starting in 1964 helped make this strategy successful; fast-running receivers could now be taken out of the game and rested as others replaced them.
Parseghian also recognized talent in quarterback John Huarte and wide receiver Jack Snow, who had been used only sparingly for two seasons by previous coaches. Huarte could throw far and accurately but was soft-spoken, a trait Parseghian and his staff helped change. Snow was large for a receiver of his era, but Parseghian thought his athleticism and sure hands would make him a good wideout. Still, expectations were muted for the 1964 season: Parseghian told his coaches that the team would have a 6–4 record if they were lucky. Sports Illustrated predicted a 5–5 record at best, and the team did not rank among the top 20 programs in the country in the pre-season AP Poll.
Notre Dame nonetheless opened the season with a 31–7 victory over heavily favored Wisconsin, a game in which Huarte threw for more yards than the team's leading passer had over the entire 1963 season. Notre Dame players carried Parseghian off the field after the win, which vaulted the team to ninth place in the polls. A string of victories followed, first against Purdue and then Air Force and UCLA. Notre Dame rose to first place in the national polls following a 40–0 win over Navy in October. The team went undefeated until the last game of the year against USC, who won 20–17 in the final minutes on a touchdown pass from Craig Fertig to Rod Sherman. The loss unseated Notre Dame from the top ranking in the national polls, but the team still won the MacArthur Trophy, a championship awarded by the National Football Foundation.
Huarte passed for 2,062 yards and set 12 school records in 1964, four of which still stood as of 2009. He also won the Heisman Trophy. Snow led the country in receptions with 60. At the same time, Parseghian won numerous coach of the year awards for engineering the turnaround, including from the American Football Coaches Association, the Football Writers Association of America, the Washington Touchdown Club, the Columbus Touchdown Club, and Football News.
Huarte and Snow graduated after the 1964 season, and Notre Dame felt their absence the following year, posting a 7–2–1 record. While the team did not contend for a national title, defensive back Nick Rassas led the nation in punt returns and came in sixth in interceptions; he was named a first-team All-American by sportswriters.
First national title
In 1966, Parseghian guided Notre Dame to its first national championship since the Leahy era. Led by quarterback Terry Hanratty, running back Nick Eddy, star receiver Jim Seymour, and fullback Larry Conjar, the offense was best in the nation in scoring, with an average of 36.2 points per game. The defense was second in the country in points allowed, thanks to strong performances by linebacker Jim Lynch and defensive end Alan Page.
The season began with eight straight victories, propelling Notre Dame to the top of the national polls. The team then faced Michigan State, which was ranked second in the polls and was also undefeated. The contest, one among a number referred to as the "game of the century", ended in a 10–10 tie. Parseghian was criticized for winding down the clock instead of trying to score despite having the ball in the final seconds of the game. He defended his strategy by maintaining that several key starters had been knocked out of action early in the game and that he did not want to spoil a courageous comeback from a 10–0 deficit by risking a turnover deep in his own territory late in the game. When Parseghian's team trounced USC 51–0 the following week, critics alleged that he ran up the score to impress poll voters who had split the number-one ranking between Notre Dame and Michigan State following the tie. Subsequent to the USC rout, the final wire service polls gave Parseghian's team the national championship, although Notre Dame continued its policy of not participating in a post-season bowl game. Nine members of the team were selected as All-Americans, and Parseghian was named coach of the year by Sporting News.
Several winning seasons followed, but Notre Dame did not repeat as national champion in the late 1960s. In 1969, the team finished with an 8–2–1 record and accepted an invitation to play in the postseason Cotton Bowl. With this game, the school ended a long-standing policy of not playing in bowl games. The university urgently needed money to fund minority scholarships and decided to use the proceeds from bowl games for this purpose. Parseghian's team lost the game, 21–17, to the eventual national champion Texas Longhorns.
Later Notre Dame career
Notre Dame continued to succeed under Parseghian in the early 1970s. Led by senior quarterback Joe Theismann, the team finished second in the polls in 1970 and avenged its Cotton Bowl loss, defeating the Longhorns 24–11 in an upset. In 1973, Parseghian had a perfect season and won a second national championship, topped off by a 24–23 win over Alabama in the Sugar Bowl. Both teams were undefeated going into the game, but Alabama had held the top spot in the national polls. Parseghian was named Coach of the Year by Football News.
Before the start of the 1974 season, several key defensive players were suspended for allegations of sexual misconduct, but charges were never filed. Parseghian called the loss of those key defensive players "a great disappointment". Several other key players were injured. An upset loss to underdog Purdue in the third game of the season derailed the team's hopes to repeat as national champions. The ever-present pressure to win took its toll. In the middle of the season, Parseghian privately decided to resign for the sake of his health. He was also dealing with the deaths of three close friends that year as well as his daughter's battle with multiple sclerosis. He officially stepped down in mid-December after rumors began to surface that he was leaving for a post with another college program or professional team. He said he was "physically exhausted and emotionally drained" after 25 years of coaching and needed a break. His last game was Notre Dame's 13–11 win in a rematch against Alabama in the Orange Bowl. After 11 seasons as head coach of the Fighting Irish, he was succeeded by Dan Devine. His record at Notre Dame was 95–17–4, giving him the second-most wins by any football coach in
the school's history, trailing only Knute Rockne.
Parseghian, who was 51 at the time, said he planned to take at least a year off from coaching before considering a run at a job in the professional ranks. Rumors circulated throughout 1975 that he might return to Notre Dame, but both he and Devine denied them. In December, he finally decided that he would not coach in 1976 despite reportedly being pursued by the New York Jets of the NFL. He would instead host a television show beginning the following fall. He made his last appearance on the sidelines when he coached the college players in the annual Chicago College All-Star Game against the defending Super Bowl champion Pittsburgh Steelers on July 23, 1976, at Chicago's Soldier Field. The game was halted with 1:22 remaining in the third quarter when a torrential thunderstorm broke out; after fans rushed onto the field, play was never resumed. It was the last such game ever played.
During Parseghian's tenure at Notre Dame, the school's long-dormant football rivalry with Michigan was revived through an agreement signed in 1970. The schools, which had not met since 1943, agreed to resume the series with the 1978 season. Notre Dame athletic director Moose Krause orchestrated the deal with Don Canham, his counterpart at Michigan, but Parseghian's friendship with Wolverine head coach Bo Schembechler also played a role. Parseghian and Schembechler were teammates at Miami University in Ohio, and Schembechler served on Parseghian's staff at Northwestern in 1956 and 1957. Schembechler told Parseghian in 1970 that he was looking forward to facing Notre Dame, but Parseghian replied that he would "never have that opportunity".
While at Notre Dame, Parseghian did away with all ornamentation on players' uniforms, eliminating shamrocks and shoulder stripes and switched the team's home jerseys to navy blue. The Irish never wore green jerseys during his tenure. His successful run at Notre Dame is sometimes referred to as the "Era of Ara".
Later life
Parseghian launched a broadcasting career after leaving Notre Dame. He served as a color analyst for ABC Sports from 1975 to 1981 covering a series of regional and national college football games. He moved to CBS Sports in 1982 and covered college games for that network until 1988.
Parseghian, who amassed a career coaching record of 170–58–6 at Miami, Northwestern and Notre Dame, was inducted into the College Football Hall of Fame in 1980. He was inducted into the Miami University Athletic Hall of Fame as part of its charter class in 1969 and became a member of the Indiana Football Hall of Fame in 1984. He was also inducted into the Cotton Bowl Classic Hall of Fame in 2007. Parseghian was awarded an honorary doctorate in humanities by Miami in 1978 and served on the school's board of trustees between 1978 and 1987. He also received an honorary degree from Notre Dame in 1997 and won the Amos Alonzo Stagg Award the same year for his contributions to the sport.
Jason Miller portrayed Parseghian in the 1993 film Rudy, which chronicled Rudy Ruettiger's determination to overcome his small size and dyslexia and play for Notre Dame in 1974. Parseghian saw Ruettiger's drive and placed him on the scout team but resigned at the end of the year. Devine, Parseghian's successor, put Ruettiger in on defense at the end of the final game of the 1975 season, and Ruettiger recorded a sack.
Along with Lou Holtz, Parseghian served as one of two honorary coaches in Notre Dame's 2007 spring game, an annual scrimmage held in April. Holtz's Gold team defeated Parseghian's Blue team, 10–6. The same year, Notre Dame unveiled a statue in Parseghian's honor by sculptor Jerry McKenna, depicting players carrying him off the field in triumph following the 1971 Cotton Bowl victory over Texas. In 2011, Miami also unveiled a statue in his honor to add to the RedHawks' Cradle of Coaches plaza. It shows him wearing a Notre Dame sweater as he kneels and looks ahead to the field.
Parseghian, who was married to the former Kathleen Davis, also became involved with medical causes later in life. Along with Mike and Cindy Parseghian, his son and daughter-in-law, he founded the Ara Parseghian Medical Research Foundation in 1994. The foundation is seeking a cure for Niemann-Pick disease Type C, a genetic disorder affecting children that causes the buildup of cholesterol in cells, resulting in damage to the nervous system and eventually death. Three of his grandchildren, Michael, Marcia, and Christa Parseghian, died from the disease. He was also active in the cause to find a cure for multiple sclerosis; his daughter Karan was diagnosed with the disease.
Parseghian died on August 2, 2017, at his home in Granger, Indiana, at the age of 94. At the time of his death, he was suffering from a post-surgical hip infection after undergoing hip surgery weeks before his death. He was buried in the Cedar Grove Cemetery in Notre Dame, Indiana.
Head coaching record
*Note: before the 1974 season, the final Coaches Poll, also known then as the UPI Poll, was released before the bowl games, so a team that lost its bowl game could still claim the UPI national championship. This was changed as a result of Alabama winning the 1973 Coaches Poll national championship despite losing to Notre Dame in the Sugar Bowl.
Coaching tree
Assistants under Parseghian who became college or professional head coaches:
John Pont: Miami (OH) (1956-1962), Yale Bulldogs (1963-1964), Indiana Hoosiers (1965-1972), Northwestern Wildcats (1973-1977), Mount St. Joseph Lions (1990-1992)
Alex Agase: Northwestern Wildcats (1964-1972), Purdue Boilermakers (1973-1976)
Bo Schembechler: Miami (OH) (1963-1968), Michigan (1969-1989)
Warren Schmakel: Boston University Terriers (1964-1968)
Doc Urich: Buffalo Bulls (1966-1968), Northern Illinois (1969-1970)
Jerry Wampfler: Colorado State Rams (1970-1972)
Ed Chlebek: Eastern Michigan Hurons (1976-1978), Boston College Eagles (1978-1980), Kent State Golden Flashes (1981-1982)
References
Bibliography
Further reading
External links
Ara Parseghian Medical Research Foundation
Cradle of Coaches Archive: A Legacy of Excellence - Ara Parseghian, Miami University Libraries
1923 births
2017 deaths
American football halfbacks
American men's basketball players
College football announcers
Notre Dame Fighting Irish football coaches
Northwestern Wildcats football coaches
Miami RedHawks football coaches
Miami RedHawks football players
Miami RedHawks men's basketball players
College Football Hall of Fame inductees
Cleveland Browns (AAFC) players
Great Lakes Navy Bluejackets football players
Miami University trustees
United States Navy personnel of World War II
United States Navy sailors
Military personnel from Ohio
Players of American football from Akron, Ohio
Basketball players from Akron, Ohio
American Presbyterians
Ethnic Armenian sportspeople
American sportspeople of Armenian descent
American people of French descent
| true |
[
"Jumpsuit is the name of an American rock and roll band from Chicago, Illinois. Together since the late 1970s when they were little more than casio and tambourine street performers, Jumpsuit has gone on to release several 7-inch singles throughout the 90s and 2000s, as well as a full-length compact disc in 2005. Jumpsuit also stars in a television cartoon series that relates their trials and tribulations that come as a result of discovering a time machine. In the series, the members of Jumpsuit attempt to use their time machine to right past wrongs and regrets in their lives; however they are usually foiled by mechanical doppelgängers that follow them through the fourth dimension. Jumpsuit's live rock shows are often presented as live-action recreations of events from the cartoon. Their most recent TV appearance on Chic-A-Go-Go brought out a new generation of fans, many still in diapers.\n\nJumpsuit is sponsored by Tomahawk Shoes and Amplifiers.\n\nDiscography\n 1997 - Pallet Jack book'n'record Lucky 13\n 2003 - Paperdolls 7\" EP Make or Break Records\n 2005 - Regret CD, Make or Break Records\n 2006 - School/No Statue 7\" Make or Break Records\n 2007 \"Cowtown: The Musical: The Opera\" CD, Make or Break Records\n 2011 \"Too Funky for the Rock and the Roll\" LP, Make or Break Records\n\nExternal links\n Jumpsuit's homepage\n Make or Break Records\n Tomahawk Shoes and Amplifiers\n\nRock music groups from Illinois\nMusical groups from Chicago",
"Numerous world records and Olympic records were set in various events at the 2020 Summer Olympics in Tokyo. Some events occur over non-standard conditions (e.g., canoeing) in which case there are no official records, just \"world best\" and \"olympic best\" results.\n\nArchery\n\nAthletics\n\nCanoe sprint\n\nTrack cycling\n\nModern pentathlon\n\nRowing\n\nIn rowing there are not world records due to the huge variability that weather conditions can have on times. Instead, there are world best times, which are set over the international rowing distance of 2000 m.\n\nShooting\n\nWhile Jiang Ranxin and Wei Meng did not break the qualification world records for the women's 10m air pistol or the women's skeet respectively, they did set Olympic records since they were not previously established in those events.\n\nSport climbing\n\nSwimming\n\nMen\n\nWomen\n\nLegend: r – First leg of relay\n\nAll world records (WR) are consequently Olympic records (OR).\n\nMixed\n\nWeightlifting\n\nMen\n\nWomen\n\nFootnotes\n\nReferences\n\n2020 Summer Olympics\n2016 Summer Olympics"
] |
[
"Ara Parseghian",
"Turnaround and the 1964 season",
"Was the 1964 season successful?",
"Notre Dame nonetheless opened the season with a 31-7 victory over heavily favored Wisconsin,",
"Any players of note?",
"Parseghian also recognized talent in quarterback John Huarte and wide receiver Jack Snow, who had been used only sparingly for two seasons by previous coaches.",
"Did they break any school or other records?",
"Huarte passed for 2,062 yards and set 12 school records in 1964, four of which still stood as of 2009."
] |
C_a814950faee84faa853ccca12c4d78a4_1
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Were there any injuries during this time?
| 4 |
Were there any injuries for Notre Dame during the 1964 season?
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Ara Parseghian
|
Parseghian quickly turned things around in 1964; he re-established a sense of confidence and team spirit that had been lost under Kuharich and Devore. Practices were carefully planned and organized with the help of a coaching staff that consisted of three assistants from Northwestern and four former Notre Dame players. Parseghian listened to players' concerns about the program and addressed them. He invigorated the team's offense by favoring passing and bringing in smaller and quicker players. A rule change allowing unlimited substitutions starting in 1964 helped make this strategy successful; fast-running receivers could now be taken out of the game and rested as others replaced them. Parseghian also recognized talent in quarterback John Huarte and wide receiver Jack Snow, who had been used only sparingly for two seasons by previous coaches. Huarte could throw far and accurately but was soft-spoken, a trait Parseghian and his staff helped change. Snow was large for a receiver of his era, but Parseghian thought his athleticism and sure hands would make him a good wideout. Still, expectations were muted for the 1964 season: Parseghian told his coaches that the team would have a 6-4 record if they were lucky. Sports Illustrated predicted a 5-5 record at best, and the team did not rank among the top 20 programs in the country in the pre-season AP Poll. Notre Dame nonetheless opened the season with a 31-7 victory over heavily favored Wisconsin, a game in which Huarte threw for more yards than the team's leading passer had over the entire 1963 season. Notre Dame players carried Parseghian off the field after the win, which vaulted the team to ninth place in the polls. A string of victories followed, first against Purdue and then Air Force and UCLA. Notre Dame rose to first place in the national polls following a 40-0 win over Navy in October. The team went undefeated until the last game of the year against USC, who won 20-17 in the final minutes on a touchdown pass from Craig Fertig to Rod Sherman. The loss unseated Notre Dame from the top ranking in the national polls, but the team still won the MacArthur Trophy, a championship awarded by the National Football Foundation. Huarte passed for 2,062 yards and set 12 school records in 1964, four of which still stood as of 2009. He also won the Heisman Trophy. Snow led the country in receptions, with 60. Parseghian, meanwhile, won numerous coach of the year awards for engineering the turnaround, including from the American Football Coaches Association, the Football Writers Association of America, the Washington Touchdown Club, the Columbus Touchdown Club, and Football News. Huarte and Snow graduated after the 1964 season, and Notre Dame felt their absence the following year, posting a 7-2-1 record. While the team did not contend for a national title, defensive back Nick Rassas led the nation in punt returns and came in sixth in interceptions; he was named a first-team All-American by sportswriters. CANNOTANSWER
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CANNOTANSWER
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Ara Raoul Parseghian (; ; May 21, 1923 – August 2, 2017) was an American football player and coach who guided the University of Notre Dame to national championships in 1966 and 1973. He is noted for bringing Notre Dame's Fighting Irish football program back from years of futility into national prominence in 1964 and is widely regarded alongside Knute Rockne and Frank Leahy as a part of the "Holy Trinity" of Notre Dame head coaches.
Parseghian grew up in Akron, Ohio and played football beginning in his junior year of high school. He enrolled at the University of Akron, but soon quit to join the U.S. Navy for two years during World War II. After the war, he finished his college career at Miami University in Ohio and went on to play halfback for the Cleveland Browns of the All-America Football Conference in 1948 and 1949. Cleveland won the league championship both of those years.
Parseghian's playing career was cut short by a hip injury. He left the Browns and took a job as an assistant coach at Miami of Ohio. When head coach Woody Hayes left in 1951 to coach at Ohio State University, Parseghian took over his job. He stayed in that position until 1956, when he was hired as head coach at Northwestern University in Illinois. In eight seasons there, he amassed a win-loss-tie record of 36–35–1 and helped turn a perennial loser into a consistent contender in the national polls.
Parseghian's success attracted the interest of Notre Dame, which had not posted a winning record in five straight seasons. He was hired as coach in 1964 and quickly turned the program around, coming close to capturing a national championship in his first year. He proceeded to win two national titles in 11 seasons as coach of the Fighting Irish, a period often referred to as "the Era of Ara". During that span, Parseghian's teams placed in the top ten of the final AP poll nine times and never finished lower than 14th. He never had a losing season at Notre Dame and posted an overall record of 95–17–4, giving him the fourth-most wins of any coach in school history after Rockne (105), Brian Kelly (101) and Lou Holtz (100). Parseghian's .836 winning percentage while at Notre Dame ranks behind only Rockne's .881 and Leahy's .855, leading to his inclusion in the "Holy Trinity" of Fighting Irish coaches.
Parseghian retired from coaching in 1974 and began a broadcasting career calling college football games for ABC and CBS. He also dedicated himself to medical causes later in life after his daughter was diagnosed with multiple sclerosis and three of his grandchildren died of a rare genetic disease. Parseghian was inducted into the College Football Hall of Fame as a coach in 1980. His career coaching record is 170–58–6.
Early life and high school
Parseghian was the youngest of three children born to an Armenian father and a French mother in Akron, Ohio. His father Michael had come to the United States from the Ottoman Empire in 1915, fleeing the Armenian genocide during World War I and settling in Akron where there was a large Armenian population. Despite his mother's protectiveness, Parseghian became involved in sports from an early age and developed a reputation as the toughest kid in his class. He was hired by Akron's Board of Education in the eighth grade to patrol his school's grounds at night to deter vandals.
Parseghian played basketball at the local YMCA but did not play organized football until his junior year at South High School in Akron because his mother would not allow him to participate in contact sports. He joined his high school team, coached by Frank "Doc" Wargo, initially without his parents' permission.
College and professional career
After graduating in 1942, Parseghian enrolled at the University of Akron. American involvement in World War II began after the attack on Pearl Harbor in 1941, however, and he quit school to join the U.S. Navy. The Navy transferred him for training to Naval Station Great Lakes near Chicago, where Paul Brown was coaching a service football team. Brown was a well-known high school coach in Ohio, having led his Massillon Washington High School teams to a series of state championships. Parseghian was named the team's starting fullback before the 1944 season, but he was sidelined with an ankle injury and did not play in any games as Great Lakes amassed a 9–2–1 record and was ranked 17th in the nation in the AP Poll. Parseghian later said that despite not playing, watching Brown's methodical and strict coaching methods – and the ease with which he commanded players much larger than he was – was a "priceless" experience.
After his military service, Parseghian enrolled at Miami of Ohio and played halfback on the school's football team in 1946 and 1947 under coach Sid Gillman. As with Brown, Parseghian paid close attention to Gillman, a post-war football pioneer who helped popularize deep downfield passes as the T formation came into vogue. He was named an All-Ohio halfback and a Little All-American by sportswriters in 1947.
Parseghian was selected by the Pittsburgh Steelers of the National Football League in the 13th round of the 1947 draft. He was also selected by the Cleveland Browns of the rival All-America Football Conference (AAFC), a team coached by Paul Brown, his old Great Lakes coach. Parseghian left Miami with six semester credit hours remaining and signed with the Browns.
Parseghian played halfback and defensive back for the Browns starting in 1948. While he only started one game that season, he was part of a potent offensive backfield that featured quarterback Otto Graham and fullback Marion Motley. The Browns won all of their games and a third straight AAFC championship in 1948. Parseghian suffered a serious injury to his hip in the second game of the 1949 season against the Baltimore Colts, however, ending his playing career. He stayed with the Browns for the rest of the season, and the team went on to win another AAFC championship. With the Browns, he had 44 carries for 166 yards, three receptions for 33 yards, scored two touchdowns, and intercepted one pass.
Coaching career
Miami (Ohio)
Parseghian's injury and the end of his professional playing career were a source of frustration, but he soon got the chance to move into the coaching ranks. Woody Hayes, the head coach at Miami of Ohio, contacted him about a job as coach of the freshman team. He was recommended for the position by athletic director John Brickels, who had been an assistant coach with the Browns in 1948. Parseghian led the freshmen to a 4–0 record in the 1950 season and was chosen the following year as Hayes's successor when Hayes departed to become head coach at Ohio State University.
Parseghian's teams at Miami consistently did well in the Mid-American Conference, posting a 7–3 record in 1951 and improving to 8–1 the following year. Miami's Redskins (now known as RedHawks) were conference champions in 1954 and in 1955, when they went undefeated. Parseghian's success, which included two wins over larger Big Ten Conference schools, raised his profile nationally as a head coaching prospect. In late 1955, he was hired to coach at Northwestern University in Evanston, Illinois, one of the Big Ten schools Miami had beaten. Parseghian compiled a 39–6–1 record in five seasons at Miami.
Northwestern
Northwestern's football program was in transition when Parseghian arrived in 1956 to take over the coaching reins. Bob Voigts had quit as head coach in February 1955, leaving his assistant Lou Saban to guide the team. Under Saban, a former Browns teammate of Parseghian's, Northwestern finished at 0–8–1, the worst-ever record in its history at the time. Ted Payseur, the school's athletic director, resigned after the season under pressure from alumni and was replaced by Stu Holcomb. One of Holcomb's first moves was to fire Saban and replace him with Parseghian.
Parseghian was the 20th head coach of the Northwestern Wildcats football team and was the youngest coach in the Big Ten when he took the job at 32 years old. His Northwestern career began in 1956 with just one win in his first six games. The Wildcats put together three wins at the end of the season, however, and finished with a 4–4–1 record. Northwestern proceeded to lose all nine of its games in the 1957 season. Bo Schembechler—a member of the 1957 Northwestern staff and teammate of Parshegian's at Miami—called Parshegian's performance during the 1957 season the best job of coaching Schembechler ever witnessed. Despite the losses (many of them by close margins), Parshegian kept his team united and focused. That crucible set the stage for a much more successful campaign in 1958, when Northwestern finished with a 5–4 record that included victories over conference rivals Michigan and Ohio State.
Northwestern began the 1959 season in the top ten in the AP Poll and started with a 45–13 win over Oklahoma, then the top-ranked team in the country. It was the first of a string of victories that propelled Northwestern to the number-two spot in the AP Poll. Led by quarterback John Talley and star halfback Ron Burton, the team beat Michigan again and won a match-up in October against Notre Dame, a school Northwestern had not played since 1948. Three straight losses at the end of the season ended the team's run at the conference championship, however.
The following four seasons brought a mix of success and challenges. Parseghian's best year at Northwestern was in 1962, when the team finished at 7–2. Parseghian was a shrewd recruiter, using Northwestern's small budget to find versatile players overlooked by the bigger rival programs. In 1962, he put his faith in sophomore quarterback Tom Myers to guide the team. Myers, aided by a big offensive line and by star receiver Paul Flatley, led a passing attack that helped Northwestern to the top of the AP Poll in the middle of the season following wins against Ohio State and Notre Dame. Parseghian called the close win against Hayes and Ohio State "one of Northwestern's greatest victories". The following week's Notre Dame game drew a 55,752 people, which remained the largest crowd ever to see a home game at Northwestern as of 2005. Despite those wins, late-season losses to Michigan State and Wisconsin cost the team a chance at the Big Ten championship.
At Northwestern, Parseghian developed a reputation as an affable, down-to-earth coach. While he took his job seriously, he cultivated an informal rapport with players, who called him "Ara" rather than "coach" or "Mr. Parseghian". Given his closeness in age to many of the players, he "empathizes with us well", Northwestern tackle Andy Cvercko said in 1959. Parseghian occasionally joined in practices with the players and organized games of touch football. He had other quirks, like lowering the intensity of practices as game day approached to let the players "build up psychologically", something he learned from Paul Brown.
Parseghian remained at Northwestern for eight seasons until 1963. His career coaching record there was 36–35–1. This ranks him third at Northwestern in total wins and ninth at Northwestern in winning percentage. Parseghian's teams beat Notre Dame four straight times after their annual series was renewed in 1959 following a decade-long hiatus.
Toward the end of his tenure at Northwestern, Parseghian grew frustrated by the school's limited financial resources, curbs on football scholarships, and academic standards for athletes that were more stringent than at other Big Ten schools. He also clashed with athletic director Holcomb, who told him in 1963 that his contract would not be renewed after that season despite coaching the team to within two wins of a national championship the previous year. "I took them to the top of the polls in 1962, and that was not good enough for Northwestern", Parseghian said many years later.
Notre Dame
Parseghian's coaching career at Northwestern was approaching its end in 1963. In November of that year, he called Father Edmund Joyce, the vice president and chairman of the athletics board at Notre Dame, a Catholic university near South Bend, Indiana. He asked whether interim head football coach Hugh Devore was going to be given the job on a longer-term basis. When Joyce said the university was searching for a new coach, Parseghian expressed an interest in the job. Joyce did not immediately seem warm to the idea, however, and Parseghian explored an offer to coach at the University of Miami in Florida, where his old friend Andy Gustafson had been promoted from head coach to athletic director. Notre Dame was also considering Dan Devine for its coaching job but ultimately offered it to Parseghian. Parseghian waffled at first, recalling his father's misguided anti-Catholicism, but accepted in December and was given a salary of about $20,000 a year ($ today).
Parseghian's candidacy for the head coaching job at Notre Dame was unusual because he was not a Notre Dame graduate, as every head coach since Knute Rockne had been. Parseghian was also an Armenian Presbyterian, making him the first non-Catholic coach since Rockne, who converted in 1925. Before hiring Parseghian, Joyce made it clear that he did not care about Parseghian's religion but simply wanted someone who could lead the football team to success.
As had been the case at Northwestern, Notre Dame's football program was in a state of flux when Parseghian arrived. Notre Dame had built a proud history under Rockne and Frank Leahy (its two most successful coaches), but the late 1950s and early 1960s had been a disaster. The team had finished 5–5 in 1962 under Joe Kuharich, who lost the confidence of his players and Notre Dame's administrators during his four years as coach. Kuharich's surprise departure at the end of that season to become supervisor of officials in the National Football League, a position created by his friend and NFL commissioner Pete Rozelle, left the program in disarray. Devore, a long-time Notre Dame employee who had played for Rockne and coached under Leahy, was brought in to lead the team on an interim basis in 1963. Notre Dame managed only a 2–7 finish that year.
Turnaround and the 1964 season
Parseghian quickly turned the program around in 1964; he re-established a sense of confidence and team spirit that had been lost under Kuharich and Devore. Practices were carefully planned and organized with the help of a coaching staff that consisted of three assistants from Northwestern and four former Notre Dame players. Parseghian listened to players' concerns about the program and addressed them. He invigorated the team's offense by favoring passing and bringing in smaller and quicker players. A rule change allowing unlimited substitutions starting in 1964 helped make this strategy successful; fast-running receivers could now be taken out of the game and rested as others replaced them.
Parseghian also recognized talent in quarterback John Huarte and wide receiver Jack Snow, who had been used only sparingly for two seasons by previous coaches. Huarte could throw far and accurately but was soft-spoken, a trait Parseghian and his staff helped change. Snow was large for a receiver of his era, but Parseghian thought his athleticism and sure hands would make him a good wideout. Still, expectations were muted for the 1964 season: Parseghian told his coaches that the team would have a 6–4 record if they were lucky. Sports Illustrated predicted a 5–5 record at best, and the team did not rank among the top 20 programs in the country in the pre-season AP Poll.
Notre Dame nonetheless opened the season with a 31–7 victory over heavily favored Wisconsin, a game in which Huarte threw for more yards than the team's leading passer had over the entire 1963 season. Notre Dame players carried Parseghian off the field after the win, which vaulted the team to ninth place in the polls. A string of victories followed, first against Purdue and then Air Force and UCLA. Notre Dame rose to first place in the national polls following a 40–0 win over Navy in October. The team went undefeated until the last game of the year against USC, who won 20–17 in the final minutes on a touchdown pass from Craig Fertig to Rod Sherman. The loss unseated Notre Dame from the top ranking in the national polls, but the team still won the MacArthur Trophy, a championship awarded by the National Football Foundation.
Huarte passed for 2,062 yards and set 12 school records in 1964, four of which still stood as of 2009. He also won the Heisman Trophy. Snow led the country in receptions with 60. At the same time, Parseghian won numerous coach of the year awards for engineering the turnaround, including from the American Football Coaches Association, the Football Writers Association of America, the Washington Touchdown Club, the Columbus Touchdown Club, and Football News.
Huarte and Snow graduated after the 1964 season, and Notre Dame felt their absence the following year, posting a 7–2–1 record. While the team did not contend for a national title, defensive back Nick Rassas led the nation in punt returns and came in sixth in interceptions; he was named a first-team All-American by sportswriters.
First national title
In 1966, Parseghian guided Notre Dame to its first national championship since the Leahy era. Led by quarterback Terry Hanratty, running back Nick Eddy, star receiver Jim Seymour, and fullback Larry Conjar, the offense was best in the nation in scoring, with an average of 36.2 points per game. The defense was second in the country in points allowed, thanks to strong performances by linebacker Jim Lynch and defensive end Alan Page.
The season began with eight straight victories, propelling Notre Dame to the top of the national polls. The team then faced Michigan State, which was ranked second in the polls and was also undefeated. The contest, one among a number referred to as the "game of the century", ended in a 10–10 tie. Parseghian was criticized for winding down the clock instead of trying to score despite having the ball in the final seconds of the game. He defended his strategy by maintaining that several key starters had been knocked out of action early in the game and that he did not want to spoil a courageous comeback from a 10–0 deficit by risking a turnover deep in his own territory late in the game. When Parseghian's team trounced USC 51–0 the following week, critics alleged that he ran up the score to impress poll voters who had split the number-one ranking between Notre Dame and Michigan State following the tie. Subsequent to the USC rout, the final wire service polls gave Parseghian's team the national championship, although Notre Dame continued its policy of not participating in a post-season bowl game. Nine members of the team were selected as All-Americans, and Parseghian was named coach of the year by Sporting News.
Several winning seasons followed, but Notre Dame did not repeat as national champion in the late 1960s. In 1969, the team finished with an 8–2–1 record and accepted an invitation to play in the postseason Cotton Bowl. With this game, the school ended a long-standing policy of not playing in bowl games. The university urgently needed money to fund minority scholarships and decided to use the proceeds from bowl games for this purpose. Parseghian's team lost the game, 21–17, to the eventual national champion Texas Longhorns.
Later Notre Dame career
Notre Dame continued to succeed under Parseghian in the early 1970s. Led by senior quarterback Joe Theismann, the team finished second in the polls in 1970 and avenged its Cotton Bowl loss, defeating the Longhorns 24–11 in an upset. In 1973, Parseghian had a perfect season and won a second national championship, topped off by a 24–23 win over Alabama in the Sugar Bowl. Both teams were undefeated going into the game, but Alabama had held the top spot in the national polls. Parseghian was named Coach of the Year by Football News.
Before the start of the 1974 season, several key defensive players were suspended for allegations of sexual misconduct, but charges were never filed. Parseghian called the loss of those key defensive players "a great disappointment". Several other key players were injured. An upset loss to underdog Purdue in the third game of the season derailed the team's hopes to repeat as national champions. The ever-present pressure to win took its toll. In the middle of the season, Parseghian privately decided to resign for the sake of his health. He was also dealing with the deaths of three close friends that year as well as his daughter's battle with multiple sclerosis. He officially stepped down in mid-December after rumors began to surface that he was leaving for a post with another college program or professional team. He said he was "physically exhausted and emotionally drained" after 25 years of coaching and needed a break. His last game was Notre Dame's 13–11 win in a rematch against Alabama in the Orange Bowl. After 11 seasons as head coach of the Fighting Irish, he was succeeded by Dan Devine. His record at Notre Dame was 95–17–4, giving him the second-most wins by any football coach in
the school's history, trailing only Knute Rockne.
Parseghian, who was 51 at the time, said he planned to take at least a year off from coaching before considering a run at a job in the professional ranks. Rumors circulated throughout 1975 that he might return to Notre Dame, but both he and Devine denied them. In December, he finally decided that he would not coach in 1976 despite reportedly being pursued by the New York Jets of the NFL. He would instead host a television show beginning the following fall. He made his last appearance on the sidelines when he coached the college players in the annual Chicago College All-Star Game against the defending Super Bowl champion Pittsburgh Steelers on July 23, 1976, at Chicago's Soldier Field. The game was halted with 1:22 remaining in the third quarter when a torrential thunderstorm broke out; after fans rushed onto the field, play was never resumed. It was the last such game ever played.
During Parseghian's tenure at Notre Dame, the school's long-dormant football rivalry with Michigan was revived through an agreement signed in 1970. The schools, which had not met since 1943, agreed to resume the series with the 1978 season. Notre Dame athletic director Moose Krause orchestrated the deal with Don Canham, his counterpart at Michigan, but Parseghian's friendship with Wolverine head coach Bo Schembechler also played a role. Parseghian and Schembechler were teammates at Miami University in Ohio, and Schembechler served on Parseghian's staff at Northwestern in 1956 and 1957. Schembechler told Parseghian in 1970 that he was looking forward to facing Notre Dame, but Parseghian replied that he would "never have that opportunity".
While at Notre Dame, Parseghian did away with all ornamentation on players' uniforms, eliminating shamrocks and shoulder stripes and switched the team's home jerseys to navy blue. The Irish never wore green jerseys during his tenure. His successful run at Notre Dame is sometimes referred to as the "Era of Ara".
Later life
Parseghian launched a broadcasting career after leaving Notre Dame. He served as a color analyst for ABC Sports from 1975 to 1981 covering a series of regional and national college football games. He moved to CBS Sports in 1982 and covered college games for that network until 1988.
Parseghian, who amassed a career coaching record of 170–58–6 at Miami, Northwestern and Notre Dame, was inducted into the College Football Hall of Fame in 1980. He was inducted into the Miami University Athletic Hall of Fame as part of its charter class in 1969 and became a member of the Indiana Football Hall of Fame in 1984. He was also inducted into the Cotton Bowl Classic Hall of Fame in 2007. Parseghian was awarded an honorary doctorate in humanities by Miami in 1978 and served on the school's board of trustees between 1978 and 1987. He also received an honorary degree from Notre Dame in 1997 and won the Amos Alonzo Stagg Award the same year for his contributions to the sport.
Jason Miller portrayed Parseghian in the 1993 film Rudy, which chronicled Rudy Ruettiger's determination to overcome his small size and dyslexia and play for Notre Dame in 1974. Parseghian saw Ruettiger's drive and placed him on the scout team but resigned at the end of the year. Devine, Parseghian's successor, put Ruettiger in on defense at the end of the final game of the 1975 season, and Ruettiger recorded a sack.
Along with Lou Holtz, Parseghian served as one of two honorary coaches in Notre Dame's 2007 spring game, an annual scrimmage held in April. Holtz's Gold team defeated Parseghian's Blue team, 10–6. The same year, Notre Dame unveiled a statue in Parseghian's honor by sculptor Jerry McKenna, depicting players carrying him off the field in triumph following the 1971 Cotton Bowl victory over Texas. In 2011, Miami also unveiled a statue in his honor to add to the RedHawks' Cradle of Coaches plaza. It shows him wearing a Notre Dame sweater as he kneels and looks ahead to the field.
Parseghian, who was married to the former Kathleen Davis, also became involved with medical causes later in life. Along with Mike and Cindy Parseghian, his son and daughter-in-law, he founded the Ara Parseghian Medical Research Foundation in 1994. The foundation is seeking a cure for Niemann-Pick disease Type C, a genetic disorder affecting children that causes the buildup of cholesterol in cells, resulting in damage to the nervous system and eventually death. Three of his grandchildren, Michael, Marcia, and Christa Parseghian, died from the disease. He was also active in the cause to find a cure for multiple sclerosis; his daughter Karan was diagnosed with the disease.
Parseghian died on August 2, 2017, at his home in Granger, Indiana, at the age of 94. At the time of his death, he was suffering from a post-surgical hip infection after undergoing hip surgery weeks before his death. He was buried in the Cedar Grove Cemetery in Notre Dame, Indiana.
Head coaching record
*Note: before the 1974 season, the final Coaches Poll, also known then as the UPI Poll, was released before the bowl games, so a team that lost its bowl game could still claim the UPI national championship. This was changed as a result of Alabama winning the 1973 Coaches Poll national championship despite losing to Notre Dame in the Sugar Bowl.
Coaching tree
Assistants under Parseghian who became college or professional head coaches:
John Pont: Miami (OH) (1956-1962), Yale Bulldogs (1963-1964), Indiana Hoosiers (1965-1972), Northwestern Wildcats (1973-1977), Mount St. Joseph Lions (1990-1992)
Alex Agase: Northwestern Wildcats (1964-1972), Purdue Boilermakers (1973-1976)
Bo Schembechler: Miami (OH) (1963-1968), Michigan (1969-1989)
Warren Schmakel: Boston University Terriers (1964-1968)
Doc Urich: Buffalo Bulls (1966-1968), Northern Illinois (1969-1970)
Jerry Wampfler: Colorado State Rams (1970-1972)
Ed Chlebek: Eastern Michigan Hurons (1976-1978), Boston College Eagles (1978-1980), Kent State Golden Flashes (1981-1982)
References
Bibliography
Further reading
External links
Ara Parseghian Medical Research Foundation
Cradle of Coaches Archive: A Legacy of Excellence - Ara Parseghian, Miami University Libraries
1923 births
2017 deaths
American football halfbacks
American men's basketball players
College football announcers
Notre Dame Fighting Irish football coaches
Northwestern Wildcats football coaches
Miami RedHawks football coaches
Miami RedHawks football players
Miami RedHawks men's basketball players
College Football Hall of Fame inductees
Cleveland Browns (AAFC) players
Great Lakes Navy Bluejackets football players
Miami University trustees
United States Navy personnel of World War II
United States Navy sailors
Military personnel from Ohio
Players of American football from Akron, Ohio
Basketball players from Akron, Ohio
American Presbyterians
Ethnic Armenian sportspeople
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"This is a list of train surfing injuries and deaths.\n\nData of train surfing injuries and deaths \n\n* This entry is for deaths from train surfing that occurred from any time period of 5 years and is not linked to any specific year. If before 1995 then they could be a repeat of the same data from the other entry for the United Kingdom.\n\nDescriptions of train surfing injuries and deaths \n\nIt was reported that for train surfing in New York \"Newspaper clippings trace the earliest surfing deaths to the 1980s...\" and there was a \"...rash of incidents in the early and mid '90s...\" It was also reported that several people lost their lives train surfing in New York in the late 1980s and early 1990s. In 2007 it was estimated that in New York in the early 1990s a dozen people died train surfing every year.\n\nIn 2012 it was reported that in Indonesia dozens of people are killed or injured by train surfing every year. It was also reported in 2012 that there are one or two deaths per month in Indonesia from train surfing.\n\nTrain surfing injuries and deaths\n\nSee also \n\n Car surfing\n List of graffiti and street art injuries and deaths\n List of selfie-related injuries and deaths\n Skitching\n Train surfing\n\nReferences \n\nAccidents\nAccidental deaths by electrocution\nTrain surfing\nTrain surfing\nLists of people by cause of death",
"Killed or Seriously Injured (KSI) is a standard metric for safety policy, particularly in transportation and road safety.\n\nHistory\nISO 39001 considers a serious injury as having an impact on the body or on the capacity of an individual.\n\nDefinition\n\nUnited Kingdom definitions\nKilled: The usual international definition, as adopted by the Vienna Convention in 1968 is 'A human casualty who dies within 30 days after the collision due to injuries received in the crash'.\nSerious injury: The definition is less clear-cut and may vary more over time and in different places. The UK definition covers injury resulting in a person being detained in hospital as an in-patient, in addition all injuries causing: fractures, concussion, internal injuries, crushings, burns (excluding friction burns), severe cuts, severe general shock which require medical treatment even if this does not result in a stay in hospital as an in-patient.\nSlight injury: Sprain (including neck whiplash injury), bruising or cuts which are not judged to be severe. Also slight shock requiring roadside assistance.\n\nUnited States definitions\nThe definitions used in the USA are as follows:\n\nFatal injury. To be used where death occurs within thirty consecutive 24-hour time periods from the time of the crash.\nIncapacitating injury. Any injury, other than a fatal injury, which prevents the injured person from walking, driving or normally continuing the activities the person was capable of performing before the injury occurred. This includes: severe lacerations, broken or distorted limbs, skull or chest injuries, abdominal injuries, unconsciousness at or when taken from the crash scene, and unable to leave the crash scene without assistance. Does not include momentary unconsciousness.\nNon-incapacitating evident injury: Any injury, other than a fatal injury or an incapacitating injury, which is evident to observers at the scene of the crash in which the injury occurred. This includes: lump on head, abrasions, bruises and minor lacerations. This does not include limping unless any actual injury can be seen.\n\nEuropean Union\nKilled: The usual international definition, as adopted by the Vienna Convention in 1968 is 'a human casualty who dies within 30 days after the collision due to injuries received in the crash'.\nSerious injury: In 2015, the European Union defined a concept of serious injures in order to share the same definition across the whole European Union. This new concept is based on MAIS (from the English maximum abbreviated injury score). Based on this standard, serious injuries are defined as scale 3 and more (or MAIS3+).\n\nIn 2014, 135,000 people were seriously injured on Europe's roads.\n\nIssues\nFigures for fatalities are normally highly reliable in industrialised countries and few if any fatalities go unrecorded. Fatality figures are however often too low making it hard to see trends over time for one place.\n\nFigures for the number of people seriously injured typically being an order of magnitude larger than the number of people killed and are therefore more likely to be statistically significant. However, classification of serious injuries is open to opinion, by medical staff or by non-medical professionals, such as police officers and may therefore vary over time and between places.\n\nFigures for slight injuries are considered highly unreliable, largely due to under-reporting where injuries are self-treated..\n\nDerived metrics\n\nSeveral metrics are derived from KSI metrics, with various goals such as international comparison which need normalization.\n\nThe 28 EU-28 countries, for the 28 members, computed an indicator named \"per 10 billion pkm\".\nPkm is an indicator of traffic volume which is used for not having consistent vehicle-kilometre data. Are counted cars and estimated motorised two-wheelers. In 2016, this indicator ranges from 23 for Sweden to 192 for Romania, with a value of 52 for the EU-28. In Germany, France, the UK and Italy, this score is respectively 33, 46, 28, 44.\n\nSee also\n Epidemiology of motor vehicle collisions\n Reported Road Casualties Great Britain\n\nReferences\n\nExternal links\n iRAP International Transport Statistics Database - safety definitions\n\nRoad safety data sets"
] |
[
"Ara Parseghian",
"Turnaround and the 1964 season",
"Was the 1964 season successful?",
"Notre Dame nonetheless opened the season with a 31-7 victory over heavily favored Wisconsin,",
"Any players of note?",
"Parseghian also recognized talent in quarterback John Huarte and wide receiver Jack Snow, who had been used only sparingly for two seasons by previous coaches.",
"Did they break any school or other records?",
"Huarte passed for 2,062 yards and set 12 school records in 1964, four of which still stood as of 2009.",
"Were there any injuries during this time?",
"I don't know."
] |
C_a814950faee84faa853ccca12c4d78a4_1
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Were there any conflicts during this time?
| 5 |
Were there any conflicts for Asa Parseghian during the 1964 season?
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Ara Parseghian
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Parseghian quickly turned things around in 1964; he re-established a sense of confidence and team spirit that had been lost under Kuharich and Devore. Practices were carefully planned and organized with the help of a coaching staff that consisted of three assistants from Northwestern and four former Notre Dame players. Parseghian listened to players' concerns about the program and addressed them. He invigorated the team's offense by favoring passing and bringing in smaller and quicker players. A rule change allowing unlimited substitutions starting in 1964 helped make this strategy successful; fast-running receivers could now be taken out of the game and rested as others replaced them. Parseghian also recognized talent in quarterback John Huarte and wide receiver Jack Snow, who had been used only sparingly for two seasons by previous coaches. Huarte could throw far and accurately but was soft-spoken, a trait Parseghian and his staff helped change. Snow was large for a receiver of his era, but Parseghian thought his athleticism and sure hands would make him a good wideout. Still, expectations were muted for the 1964 season: Parseghian told his coaches that the team would have a 6-4 record if they were lucky. Sports Illustrated predicted a 5-5 record at best, and the team did not rank among the top 20 programs in the country in the pre-season AP Poll. Notre Dame nonetheless opened the season with a 31-7 victory over heavily favored Wisconsin, a game in which Huarte threw for more yards than the team's leading passer had over the entire 1963 season. Notre Dame players carried Parseghian off the field after the win, which vaulted the team to ninth place in the polls. A string of victories followed, first against Purdue and then Air Force and UCLA. Notre Dame rose to first place in the national polls following a 40-0 win over Navy in October. The team went undefeated until the last game of the year against USC, who won 20-17 in the final minutes on a touchdown pass from Craig Fertig to Rod Sherman. The loss unseated Notre Dame from the top ranking in the national polls, but the team still won the MacArthur Trophy, a championship awarded by the National Football Foundation. Huarte passed for 2,062 yards and set 12 school records in 1964, four of which still stood as of 2009. He also won the Heisman Trophy. Snow led the country in receptions, with 60. Parseghian, meanwhile, won numerous coach of the year awards for engineering the turnaround, including from the American Football Coaches Association, the Football Writers Association of America, the Washington Touchdown Club, the Columbus Touchdown Club, and Football News. Huarte and Snow graduated after the 1964 season, and Notre Dame felt their absence the following year, posting a 7-2-1 record. While the team did not contend for a national title, defensive back Nick Rassas led the nation in punt returns and came in sixth in interceptions; he was named a first-team All-American by sportswriters. CANNOTANSWER
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Ara Raoul Parseghian (; ; May 21, 1923 – August 2, 2017) was an American football player and coach who guided the University of Notre Dame to national championships in 1966 and 1973. He is noted for bringing Notre Dame's Fighting Irish football program back from years of futility into national prominence in 1964 and is widely regarded alongside Knute Rockne and Frank Leahy as a part of the "Holy Trinity" of Notre Dame head coaches.
Parseghian grew up in Akron, Ohio and played football beginning in his junior year of high school. He enrolled at the University of Akron, but soon quit to join the U.S. Navy for two years during World War II. After the war, he finished his college career at Miami University in Ohio and went on to play halfback for the Cleveland Browns of the All-America Football Conference in 1948 and 1949. Cleveland won the league championship both of those years.
Parseghian's playing career was cut short by a hip injury. He left the Browns and took a job as an assistant coach at Miami of Ohio. When head coach Woody Hayes left in 1951 to coach at Ohio State University, Parseghian took over his job. He stayed in that position until 1956, when he was hired as head coach at Northwestern University in Illinois. In eight seasons there, he amassed a win-loss-tie record of 36–35–1 and helped turn a perennial loser into a consistent contender in the national polls.
Parseghian's success attracted the interest of Notre Dame, which had not posted a winning record in five straight seasons. He was hired as coach in 1964 and quickly turned the program around, coming close to capturing a national championship in his first year. He proceeded to win two national titles in 11 seasons as coach of the Fighting Irish, a period often referred to as "the Era of Ara". During that span, Parseghian's teams placed in the top ten of the final AP poll nine times and never finished lower than 14th. He never had a losing season at Notre Dame and posted an overall record of 95–17–4, giving him the fourth-most wins of any coach in school history after Rockne (105), Brian Kelly (101) and Lou Holtz (100). Parseghian's .836 winning percentage while at Notre Dame ranks behind only Rockne's .881 and Leahy's .855, leading to his inclusion in the "Holy Trinity" of Fighting Irish coaches.
Parseghian retired from coaching in 1974 and began a broadcasting career calling college football games for ABC and CBS. He also dedicated himself to medical causes later in life after his daughter was diagnosed with multiple sclerosis and three of his grandchildren died of a rare genetic disease. Parseghian was inducted into the College Football Hall of Fame as a coach in 1980. His career coaching record is 170–58–6.
Early life and high school
Parseghian was the youngest of three children born to an Armenian father and a French mother in Akron, Ohio. His father Michael had come to the United States from the Ottoman Empire in 1915, fleeing the Armenian genocide during World War I and settling in Akron where there was a large Armenian population. Despite his mother's protectiveness, Parseghian became involved in sports from an early age and developed a reputation as the toughest kid in his class. He was hired by Akron's Board of Education in the eighth grade to patrol his school's grounds at night to deter vandals.
Parseghian played basketball at the local YMCA but did not play organized football until his junior year at South High School in Akron because his mother would not allow him to participate in contact sports. He joined his high school team, coached by Frank "Doc" Wargo, initially without his parents' permission.
College and professional career
After graduating in 1942, Parseghian enrolled at the University of Akron. American involvement in World War II began after the attack on Pearl Harbor in 1941, however, and he quit school to join the U.S. Navy. The Navy transferred him for training to Naval Station Great Lakes near Chicago, where Paul Brown was coaching a service football team. Brown was a well-known high school coach in Ohio, having led his Massillon Washington High School teams to a series of state championships. Parseghian was named the team's starting fullback before the 1944 season, but he was sidelined with an ankle injury and did not play in any games as Great Lakes amassed a 9–2–1 record and was ranked 17th in the nation in the AP Poll. Parseghian later said that despite not playing, watching Brown's methodical and strict coaching methods – and the ease with which he commanded players much larger than he was – was a "priceless" experience.
After his military service, Parseghian enrolled at Miami of Ohio and played halfback on the school's football team in 1946 and 1947 under coach Sid Gillman. As with Brown, Parseghian paid close attention to Gillman, a post-war football pioneer who helped popularize deep downfield passes as the T formation came into vogue. He was named an All-Ohio halfback and a Little All-American by sportswriters in 1947.
Parseghian was selected by the Pittsburgh Steelers of the National Football League in the 13th round of the 1947 draft. He was also selected by the Cleveland Browns of the rival All-America Football Conference (AAFC), a team coached by Paul Brown, his old Great Lakes coach. Parseghian left Miami with six semester credit hours remaining and signed with the Browns.
Parseghian played halfback and defensive back for the Browns starting in 1948. While he only started one game that season, he was part of a potent offensive backfield that featured quarterback Otto Graham and fullback Marion Motley. The Browns won all of their games and a third straight AAFC championship in 1948. Parseghian suffered a serious injury to his hip in the second game of the 1949 season against the Baltimore Colts, however, ending his playing career. He stayed with the Browns for the rest of the season, and the team went on to win another AAFC championship. With the Browns, he had 44 carries for 166 yards, three receptions for 33 yards, scored two touchdowns, and intercepted one pass.
Coaching career
Miami (Ohio)
Parseghian's injury and the end of his professional playing career were a source of frustration, but he soon got the chance to move into the coaching ranks. Woody Hayes, the head coach at Miami of Ohio, contacted him about a job as coach of the freshman team. He was recommended for the position by athletic director John Brickels, who had been an assistant coach with the Browns in 1948. Parseghian led the freshmen to a 4–0 record in the 1950 season and was chosen the following year as Hayes's successor when Hayes departed to become head coach at Ohio State University.
Parseghian's teams at Miami consistently did well in the Mid-American Conference, posting a 7–3 record in 1951 and improving to 8–1 the following year. Miami's Redskins (now known as RedHawks) were conference champions in 1954 and in 1955, when they went undefeated. Parseghian's success, which included two wins over larger Big Ten Conference schools, raised his profile nationally as a head coaching prospect. In late 1955, he was hired to coach at Northwestern University in Evanston, Illinois, one of the Big Ten schools Miami had beaten. Parseghian compiled a 39–6–1 record in five seasons at Miami.
Northwestern
Northwestern's football program was in transition when Parseghian arrived in 1956 to take over the coaching reins. Bob Voigts had quit as head coach in February 1955, leaving his assistant Lou Saban to guide the team. Under Saban, a former Browns teammate of Parseghian's, Northwestern finished at 0–8–1, the worst-ever record in its history at the time. Ted Payseur, the school's athletic director, resigned after the season under pressure from alumni and was replaced by Stu Holcomb. One of Holcomb's first moves was to fire Saban and replace him with Parseghian.
Parseghian was the 20th head coach of the Northwestern Wildcats football team and was the youngest coach in the Big Ten when he took the job at 32 years old. His Northwestern career began in 1956 with just one win in his first six games. The Wildcats put together three wins at the end of the season, however, and finished with a 4–4–1 record. Northwestern proceeded to lose all nine of its games in the 1957 season. Bo Schembechler—a member of the 1957 Northwestern staff and teammate of Parshegian's at Miami—called Parshegian's performance during the 1957 season the best job of coaching Schembechler ever witnessed. Despite the losses (many of them by close margins), Parshegian kept his team united and focused. That crucible set the stage for a much more successful campaign in 1958, when Northwestern finished with a 5–4 record that included victories over conference rivals Michigan and Ohio State.
Northwestern began the 1959 season in the top ten in the AP Poll and started with a 45–13 win over Oklahoma, then the top-ranked team in the country. It was the first of a string of victories that propelled Northwestern to the number-two spot in the AP Poll. Led by quarterback John Talley and star halfback Ron Burton, the team beat Michigan again and won a match-up in October against Notre Dame, a school Northwestern had not played since 1948. Three straight losses at the end of the season ended the team's run at the conference championship, however.
The following four seasons brought a mix of success and challenges. Parseghian's best year at Northwestern was in 1962, when the team finished at 7–2. Parseghian was a shrewd recruiter, using Northwestern's small budget to find versatile players overlooked by the bigger rival programs. In 1962, he put his faith in sophomore quarterback Tom Myers to guide the team. Myers, aided by a big offensive line and by star receiver Paul Flatley, led a passing attack that helped Northwestern to the top of the AP Poll in the middle of the season following wins against Ohio State and Notre Dame. Parseghian called the close win against Hayes and Ohio State "one of Northwestern's greatest victories". The following week's Notre Dame game drew a 55,752 people, which remained the largest crowd ever to see a home game at Northwestern as of 2005. Despite those wins, late-season losses to Michigan State and Wisconsin cost the team a chance at the Big Ten championship.
At Northwestern, Parseghian developed a reputation as an affable, down-to-earth coach. While he took his job seriously, he cultivated an informal rapport with players, who called him "Ara" rather than "coach" or "Mr. Parseghian". Given his closeness in age to many of the players, he "empathizes with us well", Northwestern tackle Andy Cvercko said in 1959. Parseghian occasionally joined in practices with the players and organized games of touch football. He had other quirks, like lowering the intensity of practices as game day approached to let the players "build up psychologically", something he learned from Paul Brown.
Parseghian remained at Northwestern for eight seasons until 1963. His career coaching record there was 36–35–1. This ranks him third at Northwestern in total wins and ninth at Northwestern in winning percentage. Parseghian's teams beat Notre Dame four straight times after their annual series was renewed in 1959 following a decade-long hiatus.
Toward the end of his tenure at Northwestern, Parseghian grew frustrated by the school's limited financial resources, curbs on football scholarships, and academic standards for athletes that were more stringent than at other Big Ten schools. He also clashed with athletic director Holcomb, who told him in 1963 that his contract would not be renewed after that season despite coaching the team to within two wins of a national championship the previous year. "I took them to the top of the polls in 1962, and that was not good enough for Northwestern", Parseghian said many years later.
Notre Dame
Parseghian's coaching career at Northwestern was approaching its end in 1963. In November of that year, he called Father Edmund Joyce, the vice president and chairman of the athletics board at Notre Dame, a Catholic university near South Bend, Indiana. He asked whether interim head football coach Hugh Devore was going to be given the job on a longer-term basis. When Joyce said the university was searching for a new coach, Parseghian expressed an interest in the job. Joyce did not immediately seem warm to the idea, however, and Parseghian explored an offer to coach at the University of Miami in Florida, where his old friend Andy Gustafson had been promoted from head coach to athletic director. Notre Dame was also considering Dan Devine for its coaching job but ultimately offered it to Parseghian. Parseghian waffled at first, recalling his father's misguided anti-Catholicism, but accepted in December and was given a salary of about $20,000 a year ($ today).
Parseghian's candidacy for the head coaching job at Notre Dame was unusual because he was not a Notre Dame graduate, as every head coach since Knute Rockne had been. Parseghian was also an Armenian Presbyterian, making him the first non-Catholic coach since Rockne, who converted in 1925. Before hiring Parseghian, Joyce made it clear that he did not care about Parseghian's religion but simply wanted someone who could lead the football team to success.
As had been the case at Northwestern, Notre Dame's football program was in a state of flux when Parseghian arrived. Notre Dame had built a proud history under Rockne and Frank Leahy (its two most successful coaches), but the late 1950s and early 1960s had been a disaster. The team had finished 5–5 in 1962 under Joe Kuharich, who lost the confidence of his players and Notre Dame's administrators during his four years as coach. Kuharich's surprise departure at the end of that season to become supervisor of officials in the National Football League, a position created by his friend and NFL commissioner Pete Rozelle, left the program in disarray. Devore, a long-time Notre Dame employee who had played for Rockne and coached under Leahy, was brought in to lead the team on an interim basis in 1963. Notre Dame managed only a 2–7 finish that year.
Turnaround and the 1964 season
Parseghian quickly turned the program around in 1964; he re-established a sense of confidence and team spirit that had been lost under Kuharich and Devore. Practices were carefully planned and organized with the help of a coaching staff that consisted of three assistants from Northwestern and four former Notre Dame players. Parseghian listened to players' concerns about the program and addressed them. He invigorated the team's offense by favoring passing and bringing in smaller and quicker players. A rule change allowing unlimited substitutions starting in 1964 helped make this strategy successful; fast-running receivers could now be taken out of the game and rested as others replaced them.
Parseghian also recognized talent in quarterback John Huarte and wide receiver Jack Snow, who had been used only sparingly for two seasons by previous coaches. Huarte could throw far and accurately but was soft-spoken, a trait Parseghian and his staff helped change. Snow was large for a receiver of his era, but Parseghian thought his athleticism and sure hands would make him a good wideout. Still, expectations were muted for the 1964 season: Parseghian told his coaches that the team would have a 6–4 record if they were lucky. Sports Illustrated predicted a 5–5 record at best, and the team did not rank among the top 20 programs in the country in the pre-season AP Poll.
Notre Dame nonetheless opened the season with a 31–7 victory over heavily favored Wisconsin, a game in which Huarte threw for more yards than the team's leading passer had over the entire 1963 season. Notre Dame players carried Parseghian off the field after the win, which vaulted the team to ninth place in the polls. A string of victories followed, first against Purdue and then Air Force and UCLA. Notre Dame rose to first place in the national polls following a 40–0 win over Navy in October. The team went undefeated until the last game of the year against USC, who won 20–17 in the final minutes on a touchdown pass from Craig Fertig to Rod Sherman. The loss unseated Notre Dame from the top ranking in the national polls, but the team still won the MacArthur Trophy, a championship awarded by the National Football Foundation.
Huarte passed for 2,062 yards and set 12 school records in 1964, four of which still stood as of 2009. He also won the Heisman Trophy. Snow led the country in receptions with 60. At the same time, Parseghian won numerous coach of the year awards for engineering the turnaround, including from the American Football Coaches Association, the Football Writers Association of America, the Washington Touchdown Club, the Columbus Touchdown Club, and Football News.
Huarte and Snow graduated after the 1964 season, and Notre Dame felt their absence the following year, posting a 7–2–1 record. While the team did not contend for a national title, defensive back Nick Rassas led the nation in punt returns and came in sixth in interceptions; he was named a first-team All-American by sportswriters.
First national title
In 1966, Parseghian guided Notre Dame to its first national championship since the Leahy era. Led by quarterback Terry Hanratty, running back Nick Eddy, star receiver Jim Seymour, and fullback Larry Conjar, the offense was best in the nation in scoring, with an average of 36.2 points per game. The defense was second in the country in points allowed, thanks to strong performances by linebacker Jim Lynch and defensive end Alan Page.
The season began with eight straight victories, propelling Notre Dame to the top of the national polls. The team then faced Michigan State, which was ranked second in the polls and was also undefeated. The contest, one among a number referred to as the "game of the century", ended in a 10–10 tie. Parseghian was criticized for winding down the clock instead of trying to score despite having the ball in the final seconds of the game. He defended his strategy by maintaining that several key starters had been knocked out of action early in the game and that he did not want to spoil a courageous comeback from a 10–0 deficit by risking a turnover deep in his own territory late in the game. When Parseghian's team trounced USC 51–0 the following week, critics alleged that he ran up the score to impress poll voters who had split the number-one ranking between Notre Dame and Michigan State following the tie. Subsequent to the USC rout, the final wire service polls gave Parseghian's team the national championship, although Notre Dame continued its policy of not participating in a post-season bowl game. Nine members of the team were selected as All-Americans, and Parseghian was named coach of the year by Sporting News.
Several winning seasons followed, but Notre Dame did not repeat as national champion in the late 1960s. In 1969, the team finished with an 8–2–1 record and accepted an invitation to play in the postseason Cotton Bowl. With this game, the school ended a long-standing policy of not playing in bowl games. The university urgently needed money to fund minority scholarships and decided to use the proceeds from bowl games for this purpose. Parseghian's team lost the game, 21–17, to the eventual national champion Texas Longhorns.
Later Notre Dame career
Notre Dame continued to succeed under Parseghian in the early 1970s. Led by senior quarterback Joe Theismann, the team finished second in the polls in 1970 and avenged its Cotton Bowl loss, defeating the Longhorns 24–11 in an upset. In 1973, Parseghian had a perfect season and won a second national championship, topped off by a 24–23 win over Alabama in the Sugar Bowl. Both teams were undefeated going into the game, but Alabama had held the top spot in the national polls. Parseghian was named Coach of the Year by Football News.
Before the start of the 1974 season, several key defensive players were suspended for allegations of sexual misconduct, but charges were never filed. Parseghian called the loss of those key defensive players "a great disappointment". Several other key players were injured. An upset loss to underdog Purdue in the third game of the season derailed the team's hopes to repeat as national champions. The ever-present pressure to win took its toll. In the middle of the season, Parseghian privately decided to resign for the sake of his health. He was also dealing with the deaths of three close friends that year as well as his daughter's battle with multiple sclerosis. He officially stepped down in mid-December after rumors began to surface that he was leaving for a post with another college program or professional team. He said he was "physically exhausted and emotionally drained" after 25 years of coaching and needed a break. His last game was Notre Dame's 13–11 win in a rematch against Alabama in the Orange Bowl. After 11 seasons as head coach of the Fighting Irish, he was succeeded by Dan Devine. His record at Notre Dame was 95–17–4, giving him the second-most wins by any football coach in
the school's history, trailing only Knute Rockne.
Parseghian, who was 51 at the time, said he planned to take at least a year off from coaching before considering a run at a job in the professional ranks. Rumors circulated throughout 1975 that he might return to Notre Dame, but both he and Devine denied them. In December, he finally decided that he would not coach in 1976 despite reportedly being pursued by the New York Jets of the NFL. He would instead host a television show beginning the following fall. He made his last appearance on the sidelines when he coached the college players in the annual Chicago College All-Star Game against the defending Super Bowl champion Pittsburgh Steelers on July 23, 1976, at Chicago's Soldier Field. The game was halted with 1:22 remaining in the third quarter when a torrential thunderstorm broke out; after fans rushed onto the field, play was never resumed. It was the last such game ever played.
During Parseghian's tenure at Notre Dame, the school's long-dormant football rivalry with Michigan was revived through an agreement signed in 1970. The schools, which had not met since 1943, agreed to resume the series with the 1978 season. Notre Dame athletic director Moose Krause orchestrated the deal with Don Canham, his counterpart at Michigan, but Parseghian's friendship with Wolverine head coach Bo Schembechler also played a role. Parseghian and Schembechler were teammates at Miami University in Ohio, and Schembechler served on Parseghian's staff at Northwestern in 1956 and 1957. Schembechler told Parseghian in 1970 that he was looking forward to facing Notre Dame, but Parseghian replied that he would "never have that opportunity".
While at Notre Dame, Parseghian did away with all ornamentation on players' uniforms, eliminating shamrocks and shoulder stripes and switched the team's home jerseys to navy blue. The Irish never wore green jerseys during his tenure. His successful run at Notre Dame is sometimes referred to as the "Era of Ara".
Later life
Parseghian launched a broadcasting career after leaving Notre Dame. He served as a color analyst for ABC Sports from 1975 to 1981 covering a series of regional and national college football games. He moved to CBS Sports in 1982 and covered college games for that network until 1988.
Parseghian, who amassed a career coaching record of 170–58–6 at Miami, Northwestern and Notre Dame, was inducted into the College Football Hall of Fame in 1980. He was inducted into the Miami University Athletic Hall of Fame as part of its charter class in 1969 and became a member of the Indiana Football Hall of Fame in 1984. He was also inducted into the Cotton Bowl Classic Hall of Fame in 2007. Parseghian was awarded an honorary doctorate in humanities by Miami in 1978 and served on the school's board of trustees between 1978 and 1987. He also received an honorary degree from Notre Dame in 1997 and won the Amos Alonzo Stagg Award the same year for his contributions to the sport.
Jason Miller portrayed Parseghian in the 1993 film Rudy, which chronicled Rudy Ruettiger's determination to overcome his small size and dyslexia and play for Notre Dame in 1974. Parseghian saw Ruettiger's drive and placed him on the scout team but resigned at the end of the year. Devine, Parseghian's successor, put Ruettiger in on defense at the end of the final game of the 1975 season, and Ruettiger recorded a sack.
Along with Lou Holtz, Parseghian served as one of two honorary coaches in Notre Dame's 2007 spring game, an annual scrimmage held in April. Holtz's Gold team defeated Parseghian's Blue team, 10–6. The same year, Notre Dame unveiled a statue in Parseghian's honor by sculptor Jerry McKenna, depicting players carrying him off the field in triumph following the 1971 Cotton Bowl victory over Texas. In 2011, Miami also unveiled a statue in his honor to add to the RedHawks' Cradle of Coaches plaza. It shows him wearing a Notre Dame sweater as he kneels and looks ahead to the field.
Parseghian, who was married to the former Kathleen Davis, also became involved with medical causes later in life. Along with Mike and Cindy Parseghian, his son and daughter-in-law, he founded the Ara Parseghian Medical Research Foundation in 1994. The foundation is seeking a cure for Niemann-Pick disease Type C, a genetic disorder affecting children that causes the buildup of cholesterol in cells, resulting in damage to the nervous system and eventually death. Three of his grandchildren, Michael, Marcia, and Christa Parseghian, died from the disease. He was also active in the cause to find a cure for multiple sclerosis; his daughter Karan was diagnosed with the disease.
Parseghian died on August 2, 2017, at his home in Granger, Indiana, at the age of 94. At the time of his death, he was suffering from a post-surgical hip infection after undergoing hip surgery weeks before his death. He was buried in the Cedar Grove Cemetery in Notre Dame, Indiana.
Head coaching record
*Note: before the 1974 season, the final Coaches Poll, also known then as the UPI Poll, was released before the bowl games, so a team that lost its bowl game could still claim the UPI national championship. This was changed as a result of Alabama winning the 1973 Coaches Poll national championship despite losing to Notre Dame in the Sugar Bowl.
Coaching tree
Assistants under Parseghian who became college or professional head coaches:
John Pont: Miami (OH) (1956-1962), Yale Bulldogs (1963-1964), Indiana Hoosiers (1965-1972), Northwestern Wildcats (1973-1977), Mount St. Joseph Lions (1990-1992)
Alex Agase: Northwestern Wildcats (1964-1972), Purdue Boilermakers (1973-1976)
Bo Schembechler: Miami (OH) (1963-1968), Michigan (1969-1989)
Warren Schmakel: Boston University Terriers (1964-1968)
Doc Urich: Buffalo Bulls (1966-1968), Northern Illinois (1969-1970)
Jerry Wampfler: Colorado State Rams (1970-1972)
Ed Chlebek: Eastern Michigan Hurons (1976-1978), Boston College Eagles (1978-1980), Kent State Golden Flashes (1981-1982)
References
Bibliography
Further reading
External links
Ara Parseghian Medical Research Foundation
Cradle of Coaches Archive: A Legacy of Excellence - Ara Parseghian, Miami University Libraries
1923 births
2017 deaths
American football halfbacks
American men's basketball players
College football announcers
Notre Dame Fighting Irish football coaches
Northwestern Wildcats football coaches
Miami RedHawks football coaches
Miami RedHawks football players
Miami RedHawks men's basketball players
College Football Hall of Fame inductees
Cleveland Browns (AAFC) players
Great Lakes Navy Bluejackets football players
Miami University trustees
United States Navy personnel of World War II
United States Navy sailors
Military personnel from Ohio
Players of American football from Akron, Ohio
Basketball players from Akron, Ohio
American Presbyterians
Ethnic Armenian sportspeople
American sportspeople of Armenian descent
American people of French descent
| false |
[
"The following is a list of armed conflicts with victims in 2014.\n\nThe Heidelberg Institute for International Conflict Research estimated that there were 223 politically-motivated armed conflicts (of which 46 estimated as highly violent: 21 full-scale wars, 25 limited wars) worldwide during 2014.\n\nList guidelines \nThis list is an archive of armed conflicts having done globally at least 100 victims and at least 1 victim during the year 2014.\n\n10,000 or more deaths in 2014\n\n1,000–9,999 deaths in 2014\n\n100–999 deaths in 2014\n\nFewer than 100 deaths in 2014\n\nDeaths by country\nThis section details armed-conflict-related fatalities by country.\n\nSee also\nList of number of conflicts per year\nList of active rebel groups\nList of designated terrorist organizations\nList of terrorist incidents\nList of wars extended by diplomatic irregularity\nLists of wars\nUppsala Conflict Data Program\nFailed State\n\nReferences\n\nNotes\n\nCitations\n\n2014\n \n2014",
"Operation Acid Drop was a British Commando raid during the Second World War. This was the first commando raid carried out by No. 5 Commando and consisted of two simultaneous operations over the night of 30/31 August 1941. Each raid consisted of one officer and 14 men, their targets were the beaches at Hardelot and Merlimont in the Pas-de-Calais, France with the aim of carrying out reconnaissance and if possible, to capture a German soldier. It was a hit and run type raid with only 30 minutes ashore but in the event neither party encountered any Germans.\n\nReferences\n\nConflicts in 1941\nWorld War II British Commando raids\nBattles and conflicts without fatalities\n1941 in France"
] |
[
"Ara Parseghian",
"Turnaround and the 1964 season",
"Was the 1964 season successful?",
"Notre Dame nonetheless opened the season with a 31-7 victory over heavily favored Wisconsin,",
"Any players of note?",
"Parseghian also recognized talent in quarterback John Huarte and wide receiver Jack Snow, who had been used only sparingly for two seasons by previous coaches.",
"Did they break any school or other records?",
"Huarte passed for 2,062 yards and set 12 school records in 1964, four of which still stood as of 2009.",
"Were there any injuries during this time?",
"I don't know.",
"Were there any conflicts during this time?",
"I don't know."
] |
C_a814950faee84faa853ccca12c4d78a4_1
|
Anything of note happen during this time?
| 6 |
Anything of note happen during the 1964 Notre Dame season?
|
Ara Parseghian
|
Parseghian quickly turned things around in 1964; he re-established a sense of confidence and team spirit that had been lost under Kuharich and Devore. Practices were carefully planned and organized with the help of a coaching staff that consisted of three assistants from Northwestern and four former Notre Dame players. Parseghian listened to players' concerns about the program and addressed them. He invigorated the team's offense by favoring passing and bringing in smaller and quicker players. A rule change allowing unlimited substitutions starting in 1964 helped make this strategy successful; fast-running receivers could now be taken out of the game and rested as others replaced them. Parseghian also recognized talent in quarterback John Huarte and wide receiver Jack Snow, who had been used only sparingly for two seasons by previous coaches. Huarte could throw far and accurately but was soft-spoken, a trait Parseghian and his staff helped change. Snow was large for a receiver of his era, but Parseghian thought his athleticism and sure hands would make him a good wideout. Still, expectations were muted for the 1964 season: Parseghian told his coaches that the team would have a 6-4 record if they were lucky. Sports Illustrated predicted a 5-5 record at best, and the team did not rank among the top 20 programs in the country in the pre-season AP Poll. Notre Dame nonetheless opened the season with a 31-7 victory over heavily favored Wisconsin, a game in which Huarte threw for more yards than the team's leading passer had over the entire 1963 season. Notre Dame players carried Parseghian off the field after the win, which vaulted the team to ninth place in the polls. A string of victories followed, first against Purdue and then Air Force and UCLA. Notre Dame rose to first place in the national polls following a 40-0 win over Navy in October. The team went undefeated until the last game of the year against USC, who won 20-17 in the final minutes on a touchdown pass from Craig Fertig to Rod Sherman. The loss unseated Notre Dame from the top ranking in the national polls, but the team still won the MacArthur Trophy, a championship awarded by the National Football Foundation. Huarte passed for 2,062 yards and set 12 school records in 1964, four of which still stood as of 2009. He also won the Heisman Trophy. Snow led the country in receptions, with 60. Parseghian, meanwhile, won numerous coach of the year awards for engineering the turnaround, including from the American Football Coaches Association, the Football Writers Association of America, the Washington Touchdown Club, the Columbus Touchdown Club, and Football News. Huarte and Snow graduated after the 1964 season, and Notre Dame felt their absence the following year, posting a 7-2-1 record. While the team did not contend for a national title, defensive back Nick Rassas led the nation in punt returns and came in sixth in interceptions; he was named a first-team All-American by sportswriters. CANNOTANSWER
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The team went undefeated until the last game of the year against USC, who won 20-17 in the final minutes
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Ara Raoul Parseghian (; ; May 21, 1923 – August 2, 2017) was an American football player and coach who guided the University of Notre Dame to national championships in 1966 and 1973. He is noted for bringing Notre Dame's Fighting Irish football program back from years of futility into national prominence in 1964 and is widely regarded alongside Knute Rockne and Frank Leahy as a part of the "Holy Trinity" of Notre Dame head coaches.
Parseghian grew up in Akron, Ohio and played football beginning in his junior year of high school. He enrolled at the University of Akron, but soon quit to join the U.S. Navy for two years during World War II. After the war, he finished his college career at Miami University in Ohio and went on to play halfback for the Cleveland Browns of the All-America Football Conference in 1948 and 1949. Cleveland won the league championship both of those years.
Parseghian's playing career was cut short by a hip injury. He left the Browns and took a job as an assistant coach at Miami of Ohio. When head coach Woody Hayes left in 1951 to coach at Ohio State University, Parseghian took over his job. He stayed in that position until 1956, when he was hired as head coach at Northwestern University in Illinois. In eight seasons there, he amassed a win-loss-tie record of 36–35–1 and helped turn a perennial loser into a consistent contender in the national polls.
Parseghian's success attracted the interest of Notre Dame, which had not posted a winning record in five straight seasons. He was hired as coach in 1964 and quickly turned the program around, coming close to capturing a national championship in his first year. He proceeded to win two national titles in 11 seasons as coach of the Fighting Irish, a period often referred to as "the Era of Ara". During that span, Parseghian's teams placed in the top ten of the final AP poll nine times and never finished lower than 14th. He never had a losing season at Notre Dame and posted an overall record of 95–17–4, giving him the fourth-most wins of any coach in school history after Rockne (105), Brian Kelly (101) and Lou Holtz (100). Parseghian's .836 winning percentage while at Notre Dame ranks behind only Rockne's .881 and Leahy's .855, leading to his inclusion in the "Holy Trinity" of Fighting Irish coaches.
Parseghian retired from coaching in 1974 and began a broadcasting career calling college football games for ABC and CBS. He also dedicated himself to medical causes later in life after his daughter was diagnosed with multiple sclerosis and three of his grandchildren died of a rare genetic disease. Parseghian was inducted into the College Football Hall of Fame as a coach in 1980. His career coaching record is 170–58–6.
Early life and high school
Parseghian was the youngest of three children born to an Armenian father and a French mother in Akron, Ohio. His father Michael had come to the United States from the Ottoman Empire in 1915, fleeing the Armenian genocide during World War I and settling in Akron where there was a large Armenian population. Despite his mother's protectiveness, Parseghian became involved in sports from an early age and developed a reputation as the toughest kid in his class. He was hired by Akron's Board of Education in the eighth grade to patrol his school's grounds at night to deter vandals.
Parseghian played basketball at the local YMCA but did not play organized football until his junior year at South High School in Akron because his mother would not allow him to participate in contact sports. He joined his high school team, coached by Frank "Doc" Wargo, initially without his parents' permission.
College and professional career
After graduating in 1942, Parseghian enrolled at the University of Akron. American involvement in World War II began after the attack on Pearl Harbor in 1941, however, and he quit school to join the U.S. Navy. The Navy transferred him for training to Naval Station Great Lakes near Chicago, where Paul Brown was coaching a service football team. Brown was a well-known high school coach in Ohio, having led his Massillon Washington High School teams to a series of state championships. Parseghian was named the team's starting fullback before the 1944 season, but he was sidelined with an ankle injury and did not play in any games as Great Lakes amassed a 9–2–1 record and was ranked 17th in the nation in the AP Poll. Parseghian later said that despite not playing, watching Brown's methodical and strict coaching methods – and the ease with which he commanded players much larger than he was – was a "priceless" experience.
After his military service, Parseghian enrolled at Miami of Ohio and played halfback on the school's football team in 1946 and 1947 under coach Sid Gillman. As with Brown, Parseghian paid close attention to Gillman, a post-war football pioneer who helped popularize deep downfield passes as the T formation came into vogue. He was named an All-Ohio halfback and a Little All-American by sportswriters in 1947.
Parseghian was selected by the Pittsburgh Steelers of the National Football League in the 13th round of the 1947 draft. He was also selected by the Cleveland Browns of the rival All-America Football Conference (AAFC), a team coached by Paul Brown, his old Great Lakes coach. Parseghian left Miami with six semester credit hours remaining and signed with the Browns.
Parseghian played halfback and defensive back for the Browns starting in 1948. While he only started one game that season, he was part of a potent offensive backfield that featured quarterback Otto Graham and fullback Marion Motley. The Browns won all of their games and a third straight AAFC championship in 1948. Parseghian suffered a serious injury to his hip in the second game of the 1949 season against the Baltimore Colts, however, ending his playing career. He stayed with the Browns for the rest of the season, and the team went on to win another AAFC championship. With the Browns, he had 44 carries for 166 yards, three receptions for 33 yards, scored two touchdowns, and intercepted one pass.
Coaching career
Miami (Ohio)
Parseghian's injury and the end of his professional playing career were a source of frustration, but he soon got the chance to move into the coaching ranks. Woody Hayes, the head coach at Miami of Ohio, contacted him about a job as coach of the freshman team. He was recommended for the position by athletic director John Brickels, who had been an assistant coach with the Browns in 1948. Parseghian led the freshmen to a 4–0 record in the 1950 season and was chosen the following year as Hayes's successor when Hayes departed to become head coach at Ohio State University.
Parseghian's teams at Miami consistently did well in the Mid-American Conference, posting a 7–3 record in 1951 and improving to 8–1 the following year. Miami's Redskins (now known as RedHawks) were conference champions in 1954 and in 1955, when they went undefeated. Parseghian's success, which included two wins over larger Big Ten Conference schools, raised his profile nationally as a head coaching prospect. In late 1955, he was hired to coach at Northwestern University in Evanston, Illinois, one of the Big Ten schools Miami had beaten. Parseghian compiled a 39–6–1 record in five seasons at Miami.
Northwestern
Northwestern's football program was in transition when Parseghian arrived in 1956 to take over the coaching reins. Bob Voigts had quit as head coach in February 1955, leaving his assistant Lou Saban to guide the team. Under Saban, a former Browns teammate of Parseghian's, Northwestern finished at 0–8–1, the worst-ever record in its history at the time. Ted Payseur, the school's athletic director, resigned after the season under pressure from alumni and was replaced by Stu Holcomb. One of Holcomb's first moves was to fire Saban and replace him with Parseghian.
Parseghian was the 20th head coach of the Northwestern Wildcats football team and was the youngest coach in the Big Ten when he took the job at 32 years old. His Northwestern career began in 1956 with just one win in his first six games. The Wildcats put together three wins at the end of the season, however, and finished with a 4–4–1 record. Northwestern proceeded to lose all nine of its games in the 1957 season. Bo Schembechler—a member of the 1957 Northwestern staff and teammate of Parshegian's at Miami—called Parshegian's performance during the 1957 season the best job of coaching Schembechler ever witnessed. Despite the losses (many of them by close margins), Parshegian kept his team united and focused. That crucible set the stage for a much more successful campaign in 1958, when Northwestern finished with a 5–4 record that included victories over conference rivals Michigan and Ohio State.
Northwestern began the 1959 season in the top ten in the AP Poll and started with a 45–13 win over Oklahoma, then the top-ranked team in the country. It was the first of a string of victories that propelled Northwestern to the number-two spot in the AP Poll. Led by quarterback John Talley and star halfback Ron Burton, the team beat Michigan again and won a match-up in October against Notre Dame, a school Northwestern had not played since 1948. Three straight losses at the end of the season ended the team's run at the conference championship, however.
The following four seasons brought a mix of success and challenges. Parseghian's best year at Northwestern was in 1962, when the team finished at 7–2. Parseghian was a shrewd recruiter, using Northwestern's small budget to find versatile players overlooked by the bigger rival programs. In 1962, he put his faith in sophomore quarterback Tom Myers to guide the team. Myers, aided by a big offensive line and by star receiver Paul Flatley, led a passing attack that helped Northwestern to the top of the AP Poll in the middle of the season following wins against Ohio State and Notre Dame. Parseghian called the close win against Hayes and Ohio State "one of Northwestern's greatest victories". The following week's Notre Dame game drew a 55,752 people, which remained the largest crowd ever to see a home game at Northwestern as of 2005. Despite those wins, late-season losses to Michigan State and Wisconsin cost the team a chance at the Big Ten championship.
At Northwestern, Parseghian developed a reputation as an affable, down-to-earth coach. While he took his job seriously, he cultivated an informal rapport with players, who called him "Ara" rather than "coach" or "Mr. Parseghian". Given his closeness in age to many of the players, he "empathizes with us well", Northwestern tackle Andy Cvercko said in 1959. Parseghian occasionally joined in practices with the players and organized games of touch football. He had other quirks, like lowering the intensity of practices as game day approached to let the players "build up psychologically", something he learned from Paul Brown.
Parseghian remained at Northwestern for eight seasons until 1963. His career coaching record there was 36–35–1. This ranks him third at Northwestern in total wins and ninth at Northwestern in winning percentage. Parseghian's teams beat Notre Dame four straight times after their annual series was renewed in 1959 following a decade-long hiatus.
Toward the end of his tenure at Northwestern, Parseghian grew frustrated by the school's limited financial resources, curbs on football scholarships, and academic standards for athletes that were more stringent than at other Big Ten schools. He also clashed with athletic director Holcomb, who told him in 1963 that his contract would not be renewed after that season despite coaching the team to within two wins of a national championship the previous year. "I took them to the top of the polls in 1962, and that was not good enough for Northwestern", Parseghian said many years later.
Notre Dame
Parseghian's coaching career at Northwestern was approaching its end in 1963. In November of that year, he called Father Edmund Joyce, the vice president and chairman of the athletics board at Notre Dame, a Catholic university near South Bend, Indiana. He asked whether interim head football coach Hugh Devore was going to be given the job on a longer-term basis. When Joyce said the university was searching for a new coach, Parseghian expressed an interest in the job. Joyce did not immediately seem warm to the idea, however, and Parseghian explored an offer to coach at the University of Miami in Florida, where his old friend Andy Gustafson had been promoted from head coach to athletic director. Notre Dame was also considering Dan Devine for its coaching job but ultimately offered it to Parseghian. Parseghian waffled at first, recalling his father's misguided anti-Catholicism, but accepted in December and was given a salary of about $20,000 a year ($ today).
Parseghian's candidacy for the head coaching job at Notre Dame was unusual because he was not a Notre Dame graduate, as every head coach since Knute Rockne had been. Parseghian was also an Armenian Presbyterian, making him the first non-Catholic coach since Rockne, who converted in 1925. Before hiring Parseghian, Joyce made it clear that he did not care about Parseghian's religion but simply wanted someone who could lead the football team to success.
As had been the case at Northwestern, Notre Dame's football program was in a state of flux when Parseghian arrived. Notre Dame had built a proud history under Rockne and Frank Leahy (its two most successful coaches), but the late 1950s and early 1960s had been a disaster. The team had finished 5–5 in 1962 under Joe Kuharich, who lost the confidence of his players and Notre Dame's administrators during his four years as coach. Kuharich's surprise departure at the end of that season to become supervisor of officials in the National Football League, a position created by his friend and NFL commissioner Pete Rozelle, left the program in disarray. Devore, a long-time Notre Dame employee who had played for Rockne and coached under Leahy, was brought in to lead the team on an interim basis in 1963. Notre Dame managed only a 2–7 finish that year.
Turnaround and the 1964 season
Parseghian quickly turned the program around in 1964; he re-established a sense of confidence and team spirit that had been lost under Kuharich and Devore. Practices were carefully planned and organized with the help of a coaching staff that consisted of three assistants from Northwestern and four former Notre Dame players. Parseghian listened to players' concerns about the program and addressed them. He invigorated the team's offense by favoring passing and bringing in smaller and quicker players. A rule change allowing unlimited substitutions starting in 1964 helped make this strategy successful; fast-running receivers could now be taken out of the game and rested as others replaced them.
Parseghian also recognized talent in quarterback John Huarte and wide receiver Jack Snow, who had been used only sparingly for two seasons by previous coaches. Huarte could throw far and accurately but was soft-spoken, a trait Parseghian and his staff helped change. Snow was large for a receiver of his era, but Parseghian thought his athleticism and sure hands would make him a good wideout. Still, expectations were muted for the 1964 season: Parseghian told his coaches that the team would have a 6–4 record if they were lucky. Sports Illustrated predicted a 5–5 record at best, and the team did not rank among the top 20 programs in the country in the pre-season AP Poll.
Notre Dame nonetheless opened the season with a 31–7 victory over heavily favored Wisconsin, a game in which Huarte threw for more yards than the team's leading passer had over the entire 1963 season. Notre Dame players carried Parseghian off the field after the win, which vaulted the team to ninth place in the polls. A string of victories followed, first against Purdue and then Air Force and UCLA. Notre Dame rose to first place in the national polls following a 40–0 win over Navy in October. The team went undefeated until the last game of the year against USC, who won 20–17 in the final minutes on a touchdown pass from Craig Fertig to Rod Sherman. The loss unseated Notre Dame from the top ranking in the national polls, but the team still won the MacArthur Trophy, a championship awarded by the National Football Foundation.
Huarte passed for 2,062 yards and set 12 school records in 1964, four of which still stood as of 2009. He also won the Heisman Trophy. Snow led the country in receptions with 60. At the same time, Parseghian won numerous coach of the year awards for engineering the turnaround, including from the American Football Coaches Association, the Football Writers Association of America, the Washington Touchdown Club, the Columbus Touchdown Club, and Football News.
Huarte and Snow graduated after the 1964 season, and Notre Dame felt their absence the following year, posting a 7–2–1 record. While the team did not contend for a national title, defensive back Nick Rassas led the nation in punt returns and came in sixth in interceptions; he was named a first-team All-American by sportswriters.
First national title
In 1966, Parseghian guided Notre Dame to its first national championship since the Leahy era. Led by quarterback Terry Hanratty, running back Nick Eddy, star receiver Jim Seymour, and fullback Larry Conjar, the offense was best in the nation in scoring, with an average of 36.2 points per game. The defense was second in the country in points allowed, thanks to strong performances by linebacker Jim Lynch and defensive end Alan Page.
The season began with eight straight victories, propelling Notre Dame to the top of the national polls. The team then faced Michigan State, which was ranked second in the polls and was also undefeated. The contest, one among a number referred to as the "game of the century", ended in a 10–10 tie. Parseghian was criticized for winding down the clock instead of trying to score despite having the ball in the final seconds of the game. He defended his strategy by maintaining that several key starters had been knocked out of action early in the game and that he did not want to spoil a courageous comeback from a 10–0 deficit by risking a turnover deep in his own territory late in the game. When Parseghian's team trounced USC 51–0 the following week, critics alleged that he ran up the score to impress poll voters who had split the number-one ranking between Notre Dame and Michigan State following the tie. Subsequent to the USC rout, the final wire service polls gave Parseghian's team the national championship, although Notre Dame continued its policy of not participating in a post-season bowl game. Nine members of the team were selected as All-Americans, and Parseghian was named coach of the year by Sporting News.
Several winning seasons followed, but Notre Dame did not repeat as national champion in the late 1960s. In 1969, the team finished with an 8–2–1 record and accepted an invitation to play in the postseason Cotton Bowl. With this game, the school ended a long-standing policy of not playing in bowl games. The university urgently needed money to fund minority scholarships and decided to use the proceeds from bowl games for this purpose. Parseghian's team lost the game, 21–17, to the eventual national champion Texas Longhorns.
Later Notre Dame career
Notre Dame continued to succeed under Parseghian in the early 1970s. Led by senior quarterback Joe Theismann, the team finished second in the polls in 1970 and avenged its Cotton Bowl loss, defeating the Longhorns 24–11 in an upset. In 1973, Parseghian had a perfect season and won a second national championship, topped off by a 24–23 win over Alabama in the Sugar Bowl. Both teams were undefeated going into the game, but Alabama had held the top spot in the national polls. Parseghian was named Coach of the Year by Football News.
Before the start of the 1974 season, several key defensive players were suspended for allegations of sexual misconduct, but charges were never filed. Parseghian called the loss of those key defensive players "a great disappointment". Several other key players were injured. An upset loss to underdog Purdue in the third game of the season derailed the team's hopes to repeat as national champions. The ever-present pressure to win took its toll. In the middle of the season, Parseghian privately decided to resign for the sake of his health. He was also dealing with the deaths of three close friends that year as well as his daughter's battle with multiple sclerosis. He officially stepped down in mid-December after rumors began to surface that he was leaving for a post with another college program or professional team. He said he was "physically exhausted and emotionally drained" after 25 years of coaching and needed a break. His last game was Notre Dame's 13–11 win in a rematch against Alabama in the Orange Bowl. After 11 seasons as head coach of the Fighting Irish, he was succeeded by Dan Devine. His record at Notre Dame was 95–17–4, giving him the second-most wins by any football coach in
the school's history, trailing only Knute Rockne.
Parseghian, who was 51 at the time, said he planned to take at least a year off from coaching before considering a run at a job in the professional ranks. Rumors circulated throughout 1975 that he might return to Notre Dame, but both he and Devine denied them. In December, he finally decided that he would not coach in 1976 despite reportedly being pursued by the New York Jets of the NFL. He would instead host a television show beginning the following fall. He made his last appearance on the sidelines when he coached the college players in the annual Chicago College All-Star Game against the defending Super Bowl champion Pittsburgh Steelers on July 23, 1976, at Chicago's Soldier Field. The game was halted with 1:22 remaining in the third quarter when a torrential thunderstorm broke out; after fans rushed onto the field, play was never resumed. It was the last such game ever played.
During Parseghian's tenure at Notre Dame, the school's long-dormant football rivalry with Michigan was revived through an agreement signed in 1970. The schools, which had not met since 1943, agreed to resume the series with the 1978 season. Notre Dame athletic director Moose Krause orchestrated the deal with Don Canham, his counterpart at Michigan, but Parseghian's friendship with Wolverine head coach Bo Schembechler also played a role. Parseghian and Schembechler were teammates at Miami University in Ohio, and Schembechler served on Parseghian's staff at Northwestern in 1956 and 1957. Schembechler told Parseghian in 1970 that he was looking forward to facing Notre Dame, but Parseghian replied that he would "never have that opportunity".
While at Notre Dame, Parseghian did away with all ornamentation on players' uniforms, eliminating shamrocks and shoulder stripes and switched the team's home jerseys to navy blue. The Irish never wore green jerseys during his tenure. His successful run at Notre Dame is sometimes referred to as the "Era of Ara".
Later life
Parseghian launched a broadcasting career after leaving Notre Dame. He served as a color analyst for ABC Sports from 1975 to 1981 covering a series of regional and national college football games. He moved to CBS Sports in 1982 and covered college games for that network until 1988.
Parseghian, who amassed a career coaching record of 170–58–6 at Miami, Northwestern and Notre Dame, was inducted into the College Football Hall of Fame in 1980. He was inducted into the Miami University Athletic Hall of Fame as part of its charter class in 1969 and became a member of the Indiana Football Hall of Fame in 1984. He was also inducted into the Cotton Bowl Classic Hall of Fame in 2007. Parseghian was awarded an honorary doctorate in humanities by Miami in 1978 and served on the school's board of trustees between 1978 and 1987. He also received an honorary degree from Notre Dame in 1997 and won the Amos Alonzo Stagg Award the same year for his contributions to the sport.
Jason Miller portrayed Parseghian in the 1993 film Rudy, which chronicled Rudy Ruettiger's determination to overcome his small size and dyslexia and play for Notre Dame in 1974. Parseghian saw Ruettiger's drive and placed him on the scout team but resigned at the end of the year. Devine, Parseghian's successor, put Ruettiger in on defense at the end of the final game of the 1975 season, and Ruettiger recorded a sack.
Along with Lou Holtz, Parseghian served as one of two honorary coaches in Notre Dame's 2007 spring game, an annual scrimmage held in April. Holtz's Gold team defeated Parseghian's Blue team, 10–6. The same year, Notre Dame unveiled a statue in Parseghian's honor by sculptor Jerry McKenna, depicting players carrying him off the field in triumph following the 1971 Cotton Bowl victory over Texas. In 2011, Miami also unveiled a statue in his honor to add to the RedHawks' Cradle of Coaches plaza. It shows him wearing a Notre Dame sweater as he kneels and looks ahead to the field.
Parseghian, who was married to the former Kathleen Davis, also became involved with medical causes later in life. Along with Mike and Cindy Parseghian, his son and daughter-in-law, he founded the Ara Parseghian Medical Research Foundation in 1994. The foundation is seeking a cure for Niemann-Pick disease Type C, a genetic disorder affecting children that causes the buildup of cholesterol in cells, resulting in damage to the nervous system and eventually death. Three of his grandchildren, Michael, Marcia, and Christa Parseghian, died from the disease. He was also active in the cause to find a cure for multiple sclerosis; his daughter Karan was diagnosed with the disease.
Parseghian died on August 2, 2017, at his home in Granger, Indiana, at the age of 94. At the time of his death, he was suffering from a post-surgical hip infection after undergoing hip surgery weeks before his death. He was buried in the Cedar Grove Cemetery in Notre Dame, Indiana.
Head coaching record
*Note: before the 1974 season, the final Coaches Poll, also known then as the UPI Poll, was released before the bowl games, so a team that lost its bowl game could still claim the UPI national championship. This was changed as a result of Alabama winning the 1973 Coaches Poll national championship despite losing to Notre Dame in the Sugar Bowl.
Coaching tree
Assistants under Parseghian who became college or professional head coaches:
John Pont: Miami (OH) (1956-1962), Yale Bulldogs (1963-1964), Indiana Hoosiers (1965-1972), Northwestern Wildcats (1973-1977), Mount St. Joseph Lions (1990-1992)
Alex Agase: Northwestern Wildcats (1964-1972), Purdue Boilermakers (1973-1976)
Bo Schembechler: Miami (OH) (1963-1968), Michigan (1969-1989)
Warren Schmakel: Boston University Terriers (1964-1968)
Doc Urich: Buffalo Bulls (1966-1968), Northern Illinois (1969-1970)
Jerry Wampfler: Colorado State Rams (1970-1972)
Ed Chlebek: Eastern Michigan Hurons (1976-1978), Boston College Eagles (1978-1980), Kent State Golden Flashes (1981-1982)
References
Bibliography
Further reading
External links
Ara Parseghian Medical Research Foundation
Cradle of Coaches Archive: A Legacy of Excellence - Ara Parseghian, Miami University Libraries
1923 births
2017 deaths
American football halfbacks
American men's basketball players
College football announcers
Notre Dame Fighting Irish football coaches
Northwestern Wildcats football coaches
Miami RedHawks football coaches
Miami RedHawks football players
Miami RedHawks men's basketball players
College Football Hall of Fame inductees
Cleveland Browns (AAFC) players
Great Lakes Navy Bluejackets football players
Miami University trustees
United States Navy personnel of World War II
United States Navy sailors
Military personnel from Ohio
Players of American football from Akron, Ohio
Basketball players from Akron, Ohio
American Presbyterians
Ethnic Armenian sportspeople
American sportspeople of Armenian descent
American people of French descent
| false |
[
"Anything Can Happen is a 1952 comedy-drama film.\n\nAnything Can Happen may also refer to:\n\n Anything Can Happen (album), by Leon Russell, 1994\n \"Anything Can Happen\", a 2019 song by Saint Jhn \n Edhuvum Nadakkum ('Anything Can Happen'), a season of the Tamil TV series Marmadesam\n \"Anything Can Happen in the Next Half Hour\", or \"Anything Can Happen\", a 2007 song by Enter Shikari\n Anything Can Happen in the Next Half Hour (EP), 2004\n\nSee also\n \"Anything Could Happen\", a 2012 song by Ellie Goulding \n Anything Might Happen, 1934 British crime film\n Special Effects: Anything Can Happen, a 1996 American documentary film\n \"Anything Can Happen on Halloween\", a song from the 1986 film The Worst Witch \n Anything Can Happen in the Theatre, a musical revue of works by Maury Yeston\n \"The Anything Can Happen Recurrence\", an episode of The Big Bang Theory (season 7)\n The Anupam Kher Show - Kucch Bhi Ho Sakta Hai ('The Anupam Kher Show — Anything Can Happen') an Indian TV show",
"\"Anything Could Happen\" is a song by English singer and songwriter Ellie Goulding from her second studio album, Halcyon (2012). It was released on 17 August 2012 as the album's lead single. Written and produced by Goulding and Jim Eliot of English electropop duo Kish Mauve, the song received positive reviews from music critics. \"Anything Could Happen\" peaked at number five on the UK Singles Chart. Outside the United Kingdom, \"Anything Could Happen\" peaked within the top ten of the charts in Poland, the top 20 of the charts in Australia, the Czech Republic Ireland and New Zealand and the top 50 of the charts in the United States.\n\nThe accompanying music video was directed by Floria Sigismondi and filmed in Malibu, California. The video depicts Goulding and her on-screen boyfriend getting into a car accident. \"Anything Could Happen\" was used in the Beats by Dre's #ShowYourColor campaign commercial and in the trailer for the second season of the HBO series Girls. The song has been covered by The Script, Fun and Fifth Harmony.\n\nBackground and composition\nGoulding appeared on Fearne Cotton's BBC Radio 1 show on 9 August 2012 for the premiere of the song. She told Cotton, \"I've been with this song a long time and I've had to listen to it a lot to get it just how I wanted it.\"\n\nDuring a behind-the-scenes featurette for the \"Anything Could Happen\" music video, Goulding told MTV News, \"I suppose it's one of those songs where I sort of talk about bits of my childhood, but also about my friendship with this person, and, um, I suppose it's a song of realization [...] And it's called 'Anything Could Happen,' [so] I'm hoping it will make people go out and propose to their girlfriends or go on that holiday they never ended up doing. I hope it will provoke positivity, as opposed to make people really sad.\"\n\nAccording to the sheet music published at Musicnotes.com by Sony/ATV Music Publishing, \"Anything Could Happen\" is written in the key of C major and has a moderate tempo of 103 beats per minute. Goulding's vocals span from G3 to E5 in the song.\n\nCritical reception\n\"Anything Could Happen\" received positive reviews from critics, with most praising the lyrical content and Goulding's vocals. Lewis Corner of Digital Spy gave \"Anything Could Happen\" four out of five stars, stating, \"'After the war we said we'd fight together/ I guess we thought that's what humans do,' the electro-folk starlet serenades over a booming bass synth and choppy piano, before bursting into a sky-soaring chorus that manages to keep up with her haunting, high-pitched \"ooohs\". The result is a gothic love anthem that, truth be told, we'd happily see replace 'Puppy Love' at wedding receptions for years to come.\" Entertainment Weekly commented that with \"Anything Could Happen\", Goulding \"strikes shimmery synth-pop gold again.\" Erin Thompson of the Seattle Weekly called the song \"lovely\" and \"impactful\", while commending Goulding for \"writing songs that unfold like stories\". \"Anything Could Happen\" was ranked number 84 by the Village Voices annual Pazz & Jop critics' poll.\n\nCommercial performance\n\"Anything Could Happen\" debuted at number five on the UK Singles Chart, selling 49,680 copies in its first week. The single stayed at number five the following week, selling 37,895 copies. As of August 2013, it had sold 326,836 copies in the UK.\n\nIn the United States, \"Anything Could Happen\" debuted at number 17 on the Bubbling Under Hot 100 Singles chart on the issue dated 8 September 2012, before rising to number three on 20 October upon its release to radio. The song entered the Billboard Hot 100 at number 75 for the week of 27 October 2012, peaking at number 47 in its tenth week on the chart. It also topped the Hot Dance Club Songs chart during the final week of 2012. The single was certified gold by the Recording Industry Association of America (RIAA) on 17 January 2013, and platinum on 24 July 2013. As of January 2014, the song had sold 1,166,000 copies in the US.\n\nThe song performed moderately elsewhere, reaching number two in Poland, number 16 in the Czech Republic, Ireland and New Zealand, number 20 in Australia, number 37 in Canada and number 66 in Germany.\n\nMusic video\nThe music video for \"Anything Could Happen\" was directed by Floria Sigismondi. In an interview with Carson Daly on his 97.1 AMP Radio show on 6 August 2012, Goulding stated that the video would be filmed the following day in Malibu, California. The video revolves around a couple's car crash near a Malibu beach. \"I find myself on a rock, with no idea how I've been there\", she told Fuse. \"I've been in a car crash. I end up being a mermaid-type thing.\" She added, \"I wanted to do a big video with big effects by the ocean [...] I wanted to do something really epic.\" Goulding declined offers of a stuntwoman to help her shoot the video, and instead performed her own stunts, such as being dropped onto a roof.\n\nOn 5 September, the \"Anything Could Happen\" video debuted via Goulding's YouTube channel. The video shows Goulding in a car with her on-screen boyfriend as they observe waves crashing on a beach. Goulding is then seen waking up on the beach, singing to the song, and walking around the beach finding silver floating spheres and triangled shaped mirrors. Goulding is also seen close up crying while singing and then bleeding out of her nose. The video continues to show Goulding and the on-screen boyfriend in a car crash, meeting up again in their \"after life\" on the beach. Later, Goulding is shown looking on to the car crash from above, while observing her blood-covered boyfriend, with a big fluffy pink ball holding her up by ropes. The video ends as Goulding floats away from the crash scene.\n\nLyric video\nIn late July 2012, Goulding invited fans via Facebook to contribute to a lyric video for \"Anything Could Happen\" by submitting photos related to the song's lyrics using Instagram. The lyric video premiered on Goulding's YouTube channel on 9 August 2012.\n\nBen & Ellie Edit\nA second music video, titled the Ben & Ellie Edit, was released on Goulding's YouTube channel on 9 October 2012. This version all shot close up and cross fading into different scenes. The video begins with the text \"Ellie Goulding\", and flashes of a car driving and Goulding in multiple shots of her body. Once the song begins, Goulding starts singing, multiple shots of her being shown, close-up, side view, and bright lights, singing along.\n\nUse in media and cover versions\nGoulding is featured performing \"Anything Could Happen\" in the Beats by Dre commercial as part of their #ShowYourColor campaign, which debuted in September 2012, alongside the likes of Miami Heat player LeBron James and fellow Universal Music artists Lil Wayne and MGK.\n\nThe track was also used in the trailer for the second season of the HBO comedy-drama series Girls and in an episode of the Fox sitcom New Girl. It was also used in the trailer for the fourth season of the Network Ten comedy-drama series Offspring in Australia. The track was also used by TBS during the intro for game one of the 2012 ALDS between the Oakland Athletics and the Detroit Tigers. The song is also featured as the background music for the HTC Vive commercial, with Emily Blunt, Jennifer Garner, Michelle Yeoh and Juliette Lewis.\n\nThe song was covered in BBC Radio 1's Live Lounge by both Irish alternative rock band the Script and American indie pop band Fun on 27 November 2012 and 26 February 2013, respectively. In December 2012, the girl group Fifth Harmony performed \"Anything Could Happen\" in the semi-finals and finals on the second season of The X Factor (U.S.). Melissa Benoist, Jacob Artist and Kevin McHale covered the song in the fourteenth episode of the fourth season of the Fox series Glee, \"I Do\", aired 14 February 2013. Goulding joined Taylor Swift for a surprise performance of the song during Swift's Red Tour at Los Angeles' Staples Center on 23 August 2013. On 14 December 2013, Goulding performed \"Anything Could Happen\" on tenth series finale of The X Factor with finalist Luke Friend. The track has also been featured in the 2013 teen film, G.B.F. starring Michael J. Willett, Paul Iacono and Sasha Pieterse.\n\nNotable performances\nOn September 30, 2021 Goulding performed the song surrounded by floating cloud structures and white-clad dancers as part of the opening ceremony of Expo 2020 held under the fair's centerpiece, the Al Wasl Dome in Dubai, U.A.E.\n\nTrack listings\n\nCredits and personnel\nCredits adapted from the liner notes of Halcyon.\n\n Ellie Goulding – vocals, production\n Jim Eliot – production, drums, synths, piano, percussion, drum programming, sound effects\n London Community Gospel Choir – choir\n Sally Herbert – choir arrangement, choir conducting\n Graham Archer – choir recording engineering\n Joel M. Peters – choir recording engineering assistance\n Tom Elmhirst – mixing\n Ben Baptie – mixing assistance, additional engineering\n Naweed – mastering\n\nCharts\n\nWeekly charts\n\nYear-end charts\n\nCertifications\n\nRelease history\n\nSee also\n List of number-one dance singles of 2012 (U.S.)\n\nReferences\n\nExternal links\n \n Lyrics at elliegoulding.com\n\n2012 singles\n2012 songs\nEllie Goulding songs\nInterscope Records singles\nMusic videos directed by Floria Sigismondi\nPolydor Records singles\nSongs written by Ellie Goulding\nSongs written by Jim Eliot"
] |
[
"Ara Parseghian",
"Turnaround and the 1964 season",
"Was the 1964 season successful?",
"Notre Dame nonetheless opened the season with a 31-7 victory over heavily favored Wisconsin,",
"Any players of note?",
"Parseghian also recognized talent in quarterback John Huarte and wide receiver Jack Snow, who had been used only sparingly for two seasons by previous coaches.",
"Did they break any school or other records?",
"Huarte passed for 2,062 yards and set 12 school records in 1964, four of which still stood as of 2009.",
"Were there any injuries during this time?",
"I don't know.",
"Were there any conflicts during this time?",
"I don't know.",
"Anything of note happen during this time?",
"The team went undefeated until the last game of the year against USC, who won 20-17 in the final minutes"
] |
C_a814950faee84faa853ccca12c4d78a4_1
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Who scored during that game?
| 7 |
Who scored during the 1964 Notre Dame vs USC game?
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Ara Parseghian
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Parseghian quickly turned things around in 1964; he re-established a sense of confidence and team spirit that had been lost under Kuharich and Devore. Practices were carefully planned and organized with the help of a coaching staff that consisted of three assistants from Northwestern and four former Notre Dame players. Parseghian listened to players' concerns about the program and addressed them. He invigorated the team's offense by favoring passing and bringing in smaller and quicker players. A rule change allowing unlimited substitutions starting in 1964 helped make this strategy successful; fast-running receivers could now be taken out of the game and rested as others replaced them. Parseghian also recognized talent in quarterback John Huarte and wide receiver Jack Snow, who had been used only sparingly for two seasons by previous coaches. Huarte could throw far and accurately but was soft-spoken, a trait Parseghian and his staff helped change. Snow was large for a receiver of his era, but Parseghian thought his athleticism and sure hands would make him a good wideout. Still, expectations were muted for the 1964 season: Parseghian told his coaches that the team would have a 6-4 record if they were lucky. Sports Illustrated predicted a 5-5 record at best, and the team did not rank among the top 20 programs in the country in the pre-season AP Poll. Notre Dame nonetheless opened the season with a 31-7 victory over heavily favored Wisconsin, a game in which Huarte threw for more yards than the team's leading passer had over the entire 1963 season. Notre Dame players carried Parseghian off the field after the win, which vaulted the team to ninth place in the polls. A string of victories followed, first against Purdue and then Air Force and UCLA. Notre Dame rose to first place in the national polls following a 40-0 win over Navy in October. The team went undefeated until the last game of the year against USC, who won 20-17 in the final minutes on a touchdown pass from Craig Fertig to Rod Sherman. The loss unseated Notre Dame from the top ranking in the national polls, but the team still won the MacArthur Trophy, a championship awarded by the National Football Foundation. Huarte passed for 2,062 yards and set 12 school records in 1964, four of which still stood as of 2009. He also won the Heisman Trophy. Snow led the country in receptions, with 60. Parseghian, meanwhile, won numerous coach of the year awards for engineering the turnaround, including from the American Football Coaches Association, the Football Writers Association of America, the Washington Touchdown Club, the Columbus Touchdown Club, and Football News. Huarte and Snow graduated after the 1964 season, and Notre Dame felt their absence the following year, posting a 7-2-1 record. While the team did not contend for a national title, defensive back Nick Rassas led the nation in punt returns and came in sixth in interceptions; he was named a first-team All-American by sportswriters. CANNOTANSWER
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won 20-17 in the final minutes on a touchdown pass from Craig Fertig to Rod Sherman.
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Ara Raoul Parseghian (; ; May 21, 1923 – August 2, 2017) was an American football player and coach who guided the University of Notre Dame to national championships in 1966 and 1973. He is noted for bringing Notre Dame's Fighting Irish football program back from years of futility into national prominence in 1964 and is widely regarded alongside Knute Rockne and Frank Leahy as a part of the "Holy Trinity" of Notre Dame head coaches.
Parseghian grew up in Akron, Ohio and played football beginning in his junior year of high school. He enrolled at the University of Akron, but soon quit to join the U.S. Navy for two years during World War II. After the war, he finished his college career at Miami University in Ohio and went on to play halfback for the Cleveland Browns of the All-America Football Conference in 1948 and 1949. Cleveland won the league championship both of those years.
Parseghian's playing career was cut short by a hip injury. He left the Browns and took a job as an assistant coach at Miami of Ohio. When head coach Woody Hayes left in 1951 to coach at Ohio State University, Parseghian took over his job. He stayed in that position until 1956, when he was hired as head coach at Northwestern University in Illinois. In eight seasons there, he amassed a win-loss-tie record of 36–35–1 and helped turn a perennial loser into a consistent contender in the national polls.
Parseghian's success attracted the interest of Notre Dame, which had not posted a winning record in five straight seasons. He was hired as coach in 1964 and quickly turned the program around, coming close to capturing a national championship in his first year. He proceeded to win two national titles in 11 seasons as coach of the Fighting Irish, a period often referred to as "the Era of Ara". During that span, Parseghian's teams placed in the top ten of the final AP poll nine times and never finished lower than 14th. He never had a losing season at Notre Dame and posted an overall record of 95–17–4, giving him the fourth-most wins of any coach in school history after Rockne (105), Brian Kelly (101) and Lou Holtz (100). Parseghian's .836 winning percentage while at Notre Dame ranks behind only Rockne's .881 and Leahy's .855, leading to his inclusion in the "Holy Trinity" of Fighting Irish coaches.
Parseghian retired from coaching in 1974 and began a broadcasting career calling college football games for ABC and CBS. He also dedicated himself to medical causes later in life after his daughter was diagnosed with multiple sclerosis and three of his grandchildren died of a rare genetic disease. Parseghian was inducted into the College Football Hall of Fame as a coach in 1980. His career coaching record is 170–58–6.
Early life and high school
Parseghian was the youngest of three children born to an Armenian father and a French mother in Akron, Ohio. His father Michael had come to the United States from the Ottoman Empire in 1915, fleeing the Armenian genocide during World War I and settling in Akron where there was a large Armenian population. Despite his mother's protectiveness, Parseghian became involved in sports from an early age and developed a reputation as the toughest kid in his class. He was hired by Akron's Board of Education in the eighth grade to patrol his school's grounds at night to deter vandals.
Parseghian played basketball at the local YMCA but did not play organized football until his junior year at South High School in Akron because his mother would not allow him to participate in contact sports. He joined his high school team, coached by Frank "Doc" Wargo, initially without his parents' permission.
College and professional career
After graduating in 1942, Parseghian enrolled at the University of Akron. American involvement in World War II began after the attack on Pearl Harbor in 1941, however, and he quit school to join the U.S. Navy. The Navy transferred him for training to Naval Station Great Lakes near Chicago, where Paul Brown was coaching a service football team. Brown was a well-known high school coach in Ohio, having led his Massillon Washington High School teams to a series of state championships. Parseghian was named the team's starting fullback before the 1944 season, but he was sidelined with an ankle injury and did not play in any games as Great Lakes amassed a 9–2–1 record and was ranked 17th in the nation in the AP Poll. Parseghian later said that despite not playing, watching Brown's methodical and strict coaching methods – and the ease with which he commanded players much larger than he was – was a "priceless" experience.
After his military service, Parseghian enrolled at Miami of Ohio and played halfback on the school's football team in 1946 and 1947 under coach Sid Gillman. As with Brown, Parseghian paid close attention to Gillman, a post-war football pioneer who helped popularize deep downfield passes as the T formation came into vogue. He was named an All-Ohio halfback and a Little All-American by sportswriters in 1947.
Parseghian was selected by the Pittsburgh Steelers of the National Football League in the 13th round of the 1947 draft. He was also selected by the Cleveland Browns of the rival All-America Football Conference (AAFC), a team coached by Paul Brown, his old Great Lakes coach. Parseghian left Miami with six semester credit hours remaining and signed with the Browns.
Parseghian played halfback and defensive back for the Browns starting in 1948. While he only started one game that season, he was part of a potent offensive backfield that featured quarterback Otto Graham and fullback Marion Motley. The Browns won all of their games and a third straight AAFC championship in 1948. Parseghian suffered a serious injury to his hip in the second game of the 1949 season against the Baltimore Colts, however, ending his playing career. He stayed with the Browns for the rest of the season, and the team went on to win another AAFC championship. With the Browns, he had 44 carries for 166 yards, three receptions for 33 yards, scored two touchdowns, and intercepted one pass.
Coaching career
Miami (Ohio)
Parseghian's injury and the end of his professional playing career were a source of frustration, but he soon got the chance to move into the coaching ranks. Woody Hayes, the head coach at Miami of Ohio, contacted him about a job as coach of the freshman team. He was recommended for the position by athletic director John Brickels, who had been an assistant coach with the Browns in 1948. Parseghian led the freshmen to a 4–0 record in the 1950 season and was chosen the following year as Hayes's successor when Hayes departed to become head coach at Ohio State University.
Parseghian's teams at Miami consistently did well in the Mid-American Conference, posting a 7–3 record in 1951 and improving to 8–1 the following year. Miami's Redskins (now known as RedHawks) were conference champions in 1954 and in 1955, when they went undefeated. Parseghian's success, which included two wins over larger Big Ten Conference schools, raised his profile nationally as a head coaching prospect. In late 1955, he was hired to coach at Northwestern University in Evanston, Illinois, one of the Big Ten schools Miami had beaten. Parseghian compiled a 39–6–1 record in five seasons at Miami.
Northwestern
Northwestern's football program was in transition when Parseghian arrived in 1956 to take over the coaching reins. Bob Voigts had quit as head coach in February 1955, leaving his assistant Lou Saban to guide the team. Under Saban, a former Browns teammate of Parseghian's, Northwestern finished at 0–8–1, the worst-ever record in its history at the time. Ted Payseur, the school's athletic director, resigned after the season under pressure from alumni and was replaced by Stu Holcomb. One of Holcomb's first moves was to fire Saban and replace him with Parseghian.
Parseghian was the 20th head coach of the Northwestern Wildcats football team and was the youngest coach in the Big Ten when he took the job at 32 years old. His Northwestern career began in 1956 with just one win in his first six games. The Wildcats put together three wins at the end of the season, however, and finished with a 4–4–1 record. Northwestern proceeded to lose all nine of its games in the 1957 season. Bo Schembechler—a member of the 1957 Northwestern staff and teammate of Parshegian's at Miami—called Parshegian's performance during the 1957 season the best job of coaching Schembechler ever witnessed. Despite the losses (many of them by close margins), Parshegian kept his team united and focused. That crucible set the stage for a much more successful campaign in 1958, when Northwestern finished with a 5–4 record that included victories over conference rivals Michigan and Ohio State.
Northwestern began the 1959 season in the top ten in the AP Poll and started with a 45–13 win over Oklahoma, then the top-ranked team in the country. It was the first of a string of victories that propelled Northwestern to the number-two spot in the AP Poll. Led by quarterback John Talley and star halfback Ron Burton, the team beat Michigan again and won a match-up in October against Notre Dame, a school Northwestern had not played since 1948. Three straight losses at the end of the season ended the team's run at the conference championship, however.
The following four seasons brought a mix of success and challenges. Parseghian's best year at Northwestern was in 1962, when the team finished at 7–2. Parseghian was a shrewd recruiter, using Northwestern's small budget to find versatile players overlooked by the bigger rival programs. In 1962, he put his faith in sophomore quarterback Tom Myers to guide the team. Myers, aided by a big offensive line and by star receiver Paul Flatley, led a passing attack that helped Northwestern to the top of the AP Poll in the middle of the season following wins against Ohio State and Notre Dame. Parseghian called the close win against Hayes and Ohio State "one of Northwestern's greatest victories". The following week's Notre Dame game drew a 55,752 people, which remained the largest crowd ever to see a home game at Northwestern as of 2005. Despite those wins, late-season losses to Michigan State and Wisconsin cost the team a chance at the Big Ten championship.
At Northwestern, Parseghian developed a reputation as an affable, down-to-earth coach. While he took his job seriously, he cultivated an informal rapport with players, who called him "Ara" rather than "coach" or "Mr. Parseghian". Given his closeness in age to many of the players, he "empathizes with us well", Northwestern tackle Andy Cvercko said in 1959. Parseghian occasionally joined in practices with the players and organized games of touch football. He had other quirks, like lowering the intensity of practices as game day approached to let the players "build up psychologically", something he learned from Paul Brown.
Parseghian remained at Northwestern for eight seasons until 1963. His career coaching record there was 36–35–1. This ranks him third at Northwestern in total wins and ninth at Northwestern in winning percentage. Parseghian's teams beat Notre Dame four straight times after their annual series was renewed in 1959 following a decade-long hiatus.
Toward the end of his tenure at Northwestern, Parseghian grew frustrated by the school's limited financial resources, curbs on football scholarships, and academic standards for athletes that were more stringent than at other Big Ten schools. He also clashed with athletic director Holcomb, who told him in 1963 that his contract would not be renewed after that season despite coaching the team to within two wins of a national championship the previous year. "I took them to the top of the polls in 1962, and that was not good enough for Northwestern", Parseghian said many years later.
Notre Dame
Parseghian's coaching career at Northwestern was approaching its end in 1963. In November of that year, he called Father Edmund Joyce, the vice president and chairman of the athletics board at Notre Dame, a Catholic university near South Bend, Indiana. He asked whether interim head football coach Hugh Devore was going to be given the job on a longer-term basis. When Joyce said the university was searching for a new coach, Parseghian expressed an interest in the job. Joyce did not immediately seem warm to the idea, however, and Parseghian explored an offer to coach at the University of Miami in Florida, where his old friend Andy Gustafson had been promoted from head coach to athletic director. Notre Dame was also considering Dan Devine for its coaching job but ultimately offered it to Parseghian. Parseghian waffled at first, recalling his father's misguided anti-Catholicism, but accepted in December and was given a salary of about $20,000 a year ($ today).
Parseghian's candidacy for the head coaching job at Notre Dame was unusual because he was not a Notre Dame graduate, as every head coach since Knute Rockne had been. Parseghian was also an Armenian Presbyterian, making him the first non-Catholic coach since Rockne, who converted in 1925. Before hiring Parseghian, Joyce made it clear that he did not care about Parseghian's religion but simply wanted someone who could lead the football team to success.
As had been the case at Northwestern, Notre Dame's football program was in a state of flux when Parseghian arrived. Notre Dame had built a proud history under Rockne and Frank Leahy (its two most successful coaches), but the late 1950s and early 1960s had been a disaster. The team had finished 5–5 in 1962 under Joe Kuharich, who lost the confidence of his players and Notre Dame's administrators during his four years as coach. Kuharich's surprise departure at the end of that season to become supervisor of officials in the National Football League, a position created by his friend and NFL commissioner Pete Rozelle, left the program in disarray. Devore, a long-time Notre Dame employee who had played for Rockne and coached under Leahy, was brought in to lead the team on an interim basis in 1963. Notre Dame managed only a 2–7 finish that year.
Turnaround and the 1964 season
Parseghian quickly turned the program around in 1964; he re-established a sense of confidence and team spirit that had been lost under Kuharich and Devore. Practices were carefully planned and organized with the help of a coaching staff that consisted of three assistants from Northwestern and four former Notre Dame players. Parseghian listened to players' concerns about the program and addressed them. He invigorated the team's offense by favoring passing and bringing in smaller and quicker players. A rule change allowing unlimited substitutions starting in 1964 helped make this strategy successful; fast-running receivers could now be taken out of the game and rested as others replaced them.
Parseghian also recognized talent in quarterback John Huarte and wide receiver Jack Snow, who had been used only sparingly for two seasons by previous coaches. Huarte could throw far and accurately but was soft-spoken, a trait Parseghian and his staff helped change. Snow was large for a receiver of his era, but Parseghian thought his athleticism and sure hands would make him a good wideout. Still, expectations were muted for the 1964 season: Parseghian told his coaches that the team would have a 6–4 record if they were lucky. Sports Illustrated predicted a 5–5 record at best, and the team did not rank among the top 20 programs in the country in the pre-season AP Poll.
Notre Dame nonetheless opened the season with a 31–7 victory over heavily favored Wisconsin, a game in which Huarte threw for more yards than the team's leading passer had over the entire 1963 season. Notre Dame players carried Parseghian off the field after the win, which vaulted the team to ninth place in the polls. A string of victories followed, first against Purdue and then Air Force and UCLA. Notre Dame rose to first place in the national polls following a 40–0 win over Navy in October. The team went undefeated until the last game of the year against USC, who won 20–17 in the final minutes on a touchdown pass from Craig Fertig to Rod Sherman. The loss unseated Notre Dame from the top ranking in the national polls, but the team still won the MacArthur Trophy, a championship awarded by the National Football Foundation.
Huarte passed for 2,062 yards and set 12 school records in 1964, four of which still stood as of 2009. He also won the Heisman Trophy. Snow led the country in receptions with 60. At the same time, Parseghian won numerous coach of the year awards for engineering the turnaround, including from the American Football Coaches Association, the Football Writers Association of America, the Washington Touchdown Club, the Columbus Touchdown Club, and Football News.
Huarte and Snow graduated after the 1964 season, and Notre Dame felt their absence the following year, posting a 7–2–1 record. While the team did not contend for a national title, defensive back Nick Rassas led the nation in punt returns and came in sixth in interceptions; he was named a first-team All-American by sportswriters.
First national title
In 1966, Parseghian guided Notre Dame to its first national championship since the Leahy era. Led by quarterback Terry Hanratty, running back Nick Eddy, star receiver Jim Seymour, and fullback Larry Conjar, the offense was best in the nation in scoring, with an average of 36.2 points per game. The defense was second in the country in points allowed, thanks to strong performances by linebacker Jim Lynch and defensive end Alan Page.
The season began with eight straight victories, propelling Notre Dame to the top of the national polls. The team then faced Michigan State, which was ranked second in the polls and was also undefeated. The contest, one among a number referred to as the "game of the century", ended in a 10–10 tie. Parseghian was criticized for winding down the clock instead of trying to score despite having the ball in the final seconds of the game. He defended his strategy by maintaining that several key starters had been knocked out of action early in the game and that he did not want to spoil a courageous comeback from a 10–0 deficit by risking a turnover deep in his own territory late in the game. When Parseghian's team trounced USC 51–0 the following week, critics alleged that he ran up the score to impress poll voters who had split the number-one ranking between Notre Dame and Michigan State following the tie. Subsequent to the USC rout, the final wire service polls gave Parseghian's team the national championship, although Notre Dame continued its policy of not participating in a post-season bowl game. Nine members of the team were selected as All-Americans, and Parseghian was named coach of the year by Sporting News.
Several winning seasons followed, but Notre Dame did not repeat as national champion in the late 1960s. In 1969, the team finished with an 8–2–1 record and accepted an invitation to play in the postseason Cotton Bowl. With this game, the school ended a long-standing policy of not playing in bowl games. The university urgently needed money to fund minority scholarships and decided to use the proceeds from bowl games for this purpose. Parseghian's team lost the game, 21–17, to the eventual national champion Texas Longhorns.
Later Notre Dame career
Notre Dame continued to succeed under Parseghian in the early 1970s. Led by senior quarterback Joe Theismann, the team finished second in the polls in 1970 and avenged its Cotton Bowl loss, defeating the Longhorns 24–11 in an upset. In 1973, Parseghian had a perfect season and won a second national championship, topped off by a 24–23 win over Alabama in the Sugar Bowl. Both teams were undefeated going into the game, but Alabama had held the top spot in the national polls. Parseghian was named Coach of the Year by Football News.
Before the start of the 1974 season, several key defensive players were suspended for allegations of sexual misconduct, but charges were never filed. Parseghian called the loss of those key defensive players "a great disappointment". Several other key players were injured. An upset loss to underdog Purdue in the third game of the season derailed the team's hopes to repeat as national champions. The ever-present pressure to win took its toll. In the middle of the season, Parseghian privately decided to resign for the sake of his health. He was also dealing with the deaths of three close friends that year as well as his daughter's battle with multiple sclerosis. He officially stepped down in mid-December after rumors began to surface that he was leaving for a post with another college program or professional team. He said he was "physically exhausted and emotionally drained" after 25 years of coaching and needed a break. His last game was Notre Dame's 13–11 win in a rematch against Alabama in the Orange Bowl. After 11 seasons as head coach of the Fighting Irish, he was succeeded by Dan Devine. His record at Notre Dame was 95–17–4, giving him the second-most wins by any football coach in
the school's history, trailing only Knute Rockne.
Parseghian, who was 51 at the time, said he planned to take at least a year off from coaching before considering a run at a job in the professional ranks. Rumors circulated throughout 1975 that he might return to Notre Dame, but both he and Devine denied them. In December, he finally decided that he would not coach in 1976 despite reportedly being pursued by the New York Jets of the NFL. He would instead host a television show beginning the following fall. He made his last appearance on the sidelines when he coached the college players in the annual Chicago College All-Star Game against the defending Super Bowl champion Pittsburgh Steelers on July 23, 1976, at Chicago's Soldier Field. The game was halted with 1:22 remaining in the third quarter when a torrential thunderstorm broke out; after fans rushed onto the field, play was never resumed. It was the last such game ever played.
During Parseghian's tenure at Notre Dame, the school's long-dormant football rivalry with Michigan was revived through an agreement signed in 1970. The schools, which had not met since 1943, agreed to resume the series with the 1978 season. Notre Dame athletic director Moose Krause orchestrated the deal with Don Canham, his counterpart at Michigan, but Parseghian's friendship with Wolverine head coach Bo Schembechler also played a role. Parseghian and Schembechler were teammates at Miami University in Ohio, and Schembechler served on Parseghian's staff at Northwestern in 1956 and 1957. Schembechler told Parseghian in 1970 that he was looking forward to facing Notre Dame, but Parseghian replied that he would "never have that opportunity".
While at Notre Dame, Parseghian did away with all ornamentation on players' uniforms, eliminating shamrocks and shoulder stripes and switched the team's home jerseys to navy blue. The Irish never wore green jerseys during his tenure. His successful run at Notre Dame is sometimes referred to as the "Era of Ara".
Later life
Parseghian launched a broadcasting career after leaving Notre Dame. He served as a color analyst for ABC Sports from 1975 to 1981 covering a series of regional and national college football games. He moved to CBS Sports in 1982 and covered college games for that network until 1988.
Parseghian, who amassed a career coaching record of 170–58–6 at Miami, Northwestern and Notre Dame, was inducted into the College Football Hall of Fame in 1980. He was inducted into the Miami University Athletic Hall of Fame as part of its charter class in 1969 and became a member of the Indiana Football Hall of Fame in 1984. He was also inducted into the Cotton Bowl Classic Hall of Fame in 2007. Parseghian was awarded an honorary doctorate in humanities by Miami in 1978 and served on the school's board of trustees between 1978 and 1987. He also received an honorary degree from Notre Dame in 1997 and won the Amos Alonzo Stagg Award the same year for his contributions to the sport.
Jason Miller portrayed Parseghian in the 1993 film Rudy, which chronicled Rudy Ruettiger's determination to overcome his small size and dyslexia and play for Notre Dame in 1974. Parseghian saw Ruettiger's drive and placed him on the scout team but resigned at the end of the year. Devine, Parseghian's successor, put Ruettiger in on defense at the end of the final game of the 1975 season, and Ruettiger recorded a sack.
Along with Lou Holtz, Parseghian served as one of two honorary coaches in Notre Dame's 2007 spring game, an annual scrimmage held in April. Holtz's Gold team defeated Parseghian's Blue team, 10–6. The same year, Notre Dame unveiled a statue in Parseghian's honor by sculptor Jerry McKenna, depicting players carrying him off the field in triumph following the 1971 Cotton Bowl victory over Texas. In 2011, Miami also unveiled a statue in his honor to add to the RedHawks' Cradle of Coaches plaza. It shows him wearing a Notre Dame sweater as he kneels and looks ahead to the field.
Parseghian, who was married to the former Kathleen Davis, also became involved with medical causes later in life. Along with Mike and Cindy Parseghian, his son and daughter-in-law, he founded the Ara Parseghian Medical Research Foundation in 1994. The foundation is seeking a cure for Niemann-Pick disease Type C, a genetic disorder affecting children that causes the buildup of cholesterol in cells, resulting in damage to the nervous system and eventually death. Three of his grandchildren, Michael, Marcia, and Christa Parseghian, died from the disease. He was also active in the cause to find a cure for multiple sclerosis; his daughter Karan was diagnosed with the disease.
Parseghian died on August 2, 2017, at his home in Granger, Indiana, at the age of 94. At the time of his death, he was suffering from a post-surgical hip infection after undergoing hip surgery weeks before his death. He was buried in the Cedar Grove Cemetery in Notre Dame, Indiana.
Head coaching record
*Note: before the 1974 season, the final Coaches Poll, also known then as the UPI Poll, was released before the bowl games, so a team that lost its bowl game could still claim the UPI national championship. This was changed as a result of Alabama winning the 1973 Coaches Poll national championship despite losing to Notre Dame in the Sugar Bowl.
Coaching tree
Assistants under Parseghian who became college or professional head coaches:
John Pont: Miami (OH) (1956-1962), Yale Bulldogs (1963-1964), Indiana Hoosiers (1965-1972), Northwestern Wildcats (1973-1977), Mount St. Joseph Lions (1990-1992)
Alex Agase: Northwestern Wildcats (1964-1972), Purdue Boilermakers (1973-1976)
Bo Schembechler: Miami (OH) (1963-1968), Michigan (1969-1989)
Warren Schmakel: Boston University Terriers (1964-1968)
Doc Urich: Buffalo Bulls (1966-1968), Northern Illinois (1969-1970)
Jerry Wampfler: Colorado State Rams (1970-1972)
Ed Chlebek: Eastern Michigan Hurons (1976-1978), Boston College Eagles (1978-1980), Kent State Golden Flashes (1981-1982)
References
Bibliography
Further reading
External links
Ara Parseghian Medical Research Foundation
Cradle of Coaches Archive: A Legacy of Excellence - Ara Parseghian, Miami University Libraries
1923 births
2017 deaths
American football halfbacks
American men's basketball players
College football announcers
Notre Dame Fighting Irish football coaches
Northwestern Wildcats football coaches
Miami RedHawks football coaches
Miami RedHawks football players
Miami RedHawks men's basketball players
College Football Hall of Fame inductees
Cleveland Browns (AAFC) players
Great Lakes Navy Bluejackets football players
Miami University trustees
United States Navy personnel of World War II
United States Navy sailors
Military personnel from Ohio
Players of American football from Akron, Ohio
Basketball players from Akron, Ohio
American Presbyterians
Ethnic Armenian sportspeople
American sportspeople of Armenian descent
American people of French descent
| false |
[
"This is a complete listing of National Basketball Association players who have scored 60 or more points in a game.\n\nThis feat has been accomplished 78 times in NBA history. Thirty players have scored 60 or more points in a game, while just six players have joined the 70 point club. Only six players have scored 60 or more points on more than one occasion: Wilt Chamberlain (32 times), Kobe Bryant (6 times), Michael Jordan (5 times), Elgin Baylor (4 times), James Harden (4 times), and Damian Lillard (3 times). Chamberlain holds the single-game scoring record, having scored 100 points in a game in 1962.\n\nJordan (63) and Baylor (61) are the only players to score at least 60 points in a game during the playoffs, each accomplishing this once.\n\nThe youngest player to achieve this is Devin Booker (70 points – 20 years and 145 days) and the oldest is Kobe Bryant (60 points – 37 years & 234 days).\n\nKey\n\nSingle-game leaders\n\nSee also\nNBA regular season records\nList of National Basketball Association single-game playoff scoring leaders\nList of NCAA Division I men's basketball players with 60 or more points in a game\nList of basketball players who have scored 100 points in a single game\n\nNotes\n\n Chamberlain set the following, still-standing (as of the 2021–22 season) single-game NBA records: points scored (100), points scored in a half (59), shots made (36), shots attempted (63), and free throws made (28). Also set a then-record for points scored in a quarter (31). Last game in a streak in which Chamberlain scored 60 points or more in four straight games. Game played at Hershey Sports Arena in Hershey, Pennsylvania.\n Outscored the Raptors 55–41 in the second half. Led Lakers from an 18-point deficit. Bryant was in the middle of a free throw scoring streak which came to an end at 62. Scored 28 of the Lakers' 31 points in the fourth quarter. Scored 19 consecutive Laker points between the end of the first half and the middle of the third quarter.\n 3 OT; set a then-record for points in a game. Most points scored in a losing effort. Also recorded 43 rebounds.\n Set a then-record for points in a regulation game.\n Most points scored in an opposing arena.\n Last game of the season; George Gervin scored 63 on the same night to win the scoring title by a .07 margin.\n Set a then-record for points in a game.\n Last game of regular season to win a scoring title over Shaquille O'Neal.\n Youngest player to score at least 60 points in a game.\n 8 points in overtime. OT victory; also recorded his regular season career-high for rebounds in this game with 18.\n Last time Chamberlain scored 60. \n Scored basket that sent game in OT. Scored nine in extra period.\n Set a then-record for points in a game.\n Scored 7 points in OT.\n Pre-shot clock era; set a then-record for points in a game.\n 3 OT.\n Scored a then-record 33 points in the second quarter. Lost game but won the scoring title on last game of the season over David Thompson.\n NBA Playoffs record. 5 points in first OT, 4 points in second OT.\n OT; Game played at Detroit, Michigan.\n OT; Game played at Utica, New York.\n Sat out the fourth quarter; outscored Dallas alone through three quarters, 62–61.\n Anthony made a half-court buzzer-beater at the end of the first half.\n 2 OT; Mikan scored 67% of his team's points.\n NBA Finals record (game 5 victory); most points in a regulation playoff game.\n Scored four points in OT.\n Part of a streak in which Jordan scored 50 or more points in three consecutive games to become the only player besides Wilt Chamberlain with a 3,000 point season.\n On his 28th birthday.\n Made his first 8 three-pointers.\n Chamberlain's seventh straight 50+ point game (an NBA record) and 13th straight 40+ point game (he would push this streak to 14 the next evening). Game played at Hershey Sports Arena in Hershey, Pennsylvania.\n Game played at Cleveland, Ohio.\n Scored last basket at the buzzer. Game played at Lakefront Arena in New Orleans, Louisiana.\n Scored 16 of his team's 21 points in OT, setting an NBA record.\n 3rd game of a four-game 50+ streak; Bryant's 50+ streak exceeded only by Chamberlain's streaks of seven (twice), six, and five (four times).\n Final game of Bryant's career. Oldest player to score 60.\n Sat out the fourth quarter.\n New Rockets franchise single-game scoring record; also had 10 rebounds and 11 assists, setting the record for highest-scoring triple-double in NBA history.\n Game went to OT, where Walker scored two points.\n Sat out the fourth quarter.\n Scored ten points in OT.\n\nReferences\n\nExternal links\nTop single-game scorers (60-plus) from NBA.com\nNBA Almanac: Most Points\nHistorical NBA Box Scores\nWilt Chamberlain Career Retrospective\nHarvey Pollack's Statistical Yearbook\n\nPoints",
"Alfred Stöhrmann (1882 – 4 September 1914) was a German footballer who played as striker during the early 1900s.\n\nFootball career\nBorn in and grown up in Karlsruhe, Stöhrmann first played for local club Phönix Karlsruhe from 1904 to 1907. \n\nHe joined FC Basel's first team during their 1906–07 season. Stöhrmann played his first for the club in the friendly game on 17 March 1907. He scored his first goal for his new club during the same game as Basel won 3–2 against Winterthur.\n\nAfter playing in four test games that season, Stöhrmann played his domestic league debut for the club during the first game of the following season. It was on 6 October 1907 and he scored his first league goal in this match as Basel won 5–3 in the away game against St. Gallen.\n\nStöhrmann stayed one year with the club. He played in a total of 11 games for Basel scoring a total of eight goals. Seven of these games were in the Swiss Serie A and four were friendly games. He scored five goals in the domestic league, the other three were scored during the test games.\n\nReferences\n\nSources\n Die ersten 125 Jahre. Publisher: Josef Zindel im Friedrich Reinhardt Verlag, Basel. \n Verein \"Basler Fussballarchiv\" Homepage\n\nFC Basel players\nKarlsruher SC players\nGerman footballers\nAssociation football forwards\nSwiss Super League players\n1882 births\n1914 deaths"
] |
[
"Ara Parseghian",
"Turnaround and the 1964 season",
"Was the 1964 season successful?",
"Notre Dame nonetheless opened the season with a 31-7 victory over heavily favored Wisconsin,",
"Any players of note?",
"Parseghian also recognized talent in quarterback John Huarte and wide receiver Jack Snow, who had been used only sparingly for two seasons by previous coaches.",
"Did they break any school or other records?",
"Huarte passed for 2,062 yards and set 12 school records in 1964, four of which still stood as of 2009.",
"Were there any injuries during this time?",
"I don't know.",
"Were there any conflicts during this time?",
"I don't know.",
"Anything of note happen during this time?",
"The team went undefeated until the last game of the year against USC, who won 20-17 in the final minutes",
"Who scored during that game?",
"won 20-17 in the final minutes on a touchdown pass from Craig Fertig to Rod Sherman."
] |
C_a814950faee84faa853ccca12c4d78a4_1
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What teams did they play against?
| 8 |
What teams did Asa Parseghian's team play against in 1964?
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Ara Parseghian
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Parseghian quickly turned things around in 1964; he re-established a sense of confidence and team spirit that had been lost under Kuharich and Devore. Practices were carefully planned and organized with the help of a coaching staff that consisted of three assistants from Northwestern and four former Notre Dame players. Parseghian listened to players' concerns about the program and addressed them. He invigorated the team's offense by favoring passing and bringing in smaller and quicker players. A rule change allowing unlimited substitutions starting in 1964 helped make this strategy successful; fast-running receivers could now be taken out of the game and rested as others replaced them. Parseghian also recognized talent in quarterback John Huarte and wide receiver Jack Snow, who had been used only sparingly for two seasons by previous coaches. Huarte could throw far and accurately but was soft-spoken, a trait Parseghian and his staff helped change. Snow was large for a receiver of his era, but Parseghian thought his athleticism and sure hands would make him a good wideout. Still, expectations were muted for the 1964 season: Parseghian told his coaches that the team would have a 6-4 record if they were lucky. Sports Illustrated predicted a 5-5 record at best, and the team did not rank among the top 20 programs in the country in the pre-season AP Poll. Notre Dame nonetheless opened the season with a 31-7 victory over heavily favored Wisconsin, a game in which Huarte threw for more yards than the team's leading passer had over the entire 1963 season. Notre Dame players carried Parseghian off the field after the win, which vaulted the team to ninth place in the polls. A string of victories followed, first against Purdue and then Air Force and UCLA. Notre Dame rose to first place in the national polls following a 40-0 win over Navy in October. The team went undefeated until the last game of the year against USC, who won 20-17 in the final minutes on a touchdown pass from Craig Fertig to Rod Sherman. The loss unseated Notre Dame from the top ranking in the national polls, but the team still won the MacArthur Trophy, a championship awarded by the National Football Foundation. Huarte passed for 2,062 yards and set 12 school records in 1964, four of which still stood as of 2009. He also won the Heisman Trophy. Snow led the country in receptions, with 60. Parseghian, meanwhile, won numerous coach of the year awards for engineering the turnaround, including from the American Football Coaches Association, the Football Writers Association of America, the Washington Touchdown Club, the Columbus Touchdown Club, and Football News. Huarte and Snow graduated after the 1964 season, and Notre Dame felt their absence the following year, posting a 7-2-1 record. While the team did not contend for a national title, defensive back Nick Rassas led the nation in punt returns and came in sixth in interceptions; he was named a first-team All-American by sportswriters. CANNOTANSWER
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first against Purdue and then Air Force and UCLA. Notre Dame rose to first place in the national polls following a 40-0 win over Navy in October.
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Ara Raoul Parseghian (; ; May 21, 1923 – August 2, 2017) was an American football player and coach who guided the University of Notre Dame to national championships in 1966 and 1973. He is noted for bringing Notre Dame's Fighting Irish football program back from years of futility into national prominence in 1964 and is widely regarded alongside Knute Rockne and Frank Leahy as a part of the "Holy Trinity" of Notre Dame head coaches.
Parseghian grew up in Akron, Ohio and played football beginning in his junior year of high school. He enrolled at the University of Akron, but soon quit to join the U.S. Navy for two years during World War II. After the war, he finished his college career at Miami University in Ohio and went on to play halfback for the Cleveland Browns of the All-America Football Conference in 1948 and 1949. Cleveland won the league championship both of those years.
Parseghian's playing career was cut short by a hip injury. He left the Browns and took a job as an assistant coach at Miami of Ohio. When head coach Woody Hayes left in 1951 to coach at Ohio State University, Parseghian took over his job. He stayed in that position until 1956, when he was hired as head coach at Northwestern University in Illinois. In eight seasons there, he amassed a win-loss-tie record of 36–35–1 and helped turn a perennial loser into a consistent contender in the national polls.
Parseghian's success attracted the interest of Notre Dame, which had not posted a winning record in five straight seasons. He was hired as coach in 1964 and quickly turned the program around, coming close to capturing a national championship in his first year. He proceeded to win two national titles in 11 seasons as coach of the Fighting Irish, a period often referred to as "the Era of Ara". During that span, Parseghian's teams placed in the top ten of the final AP poll nine times and never finished lower than 14th. He never had a losing season at Notre Dame and posted an overall record of 95–17–4, giving him the fourth-most wins of any coach in school history after Rockne (105), Brian Kelly (101) and Lou Holtz (100). Parseghian's .836 winning percentage while at Notre Dame ranks behind only Rockne's .881 and Leahy's .855, leading to his inclusion in the "Holy Trinity" of Fighting Irish coaches.
Parseghian retired from coaching in 1974 and began a broadcasting career calling college football games for ABC and CBS. He also dedicated himself to medical causes later in life after his daughter was diagnosed with multiple sclerosis and three of his grandchildren died of a rare genetic disease. Parseghian was inducted into the College Football Hall of Fame as a coach in 1980. His career coaching record is 170–58–6.
Early life and high school
Parseghian was the youngest of three children born to an Armenian father and a French mother in Akron, Ohio. His father Michael had come to the United States from the Ottoman Empire in 1915, fleeing the Armenian genocide during World War I and settling in Akron where there was a large Armenian population. Despite his mother's protectiveness, Parseghian became involved in sports from an early age and developed a reputation as the toughest kid in his class. He was hired by Akron's Board of Education in the eighth grade to patrol his school's grounds at night to deter vandals.
Parseghian played basketball at the local YMCA but did not play organized football until his junior year at South High School in Akron because his mother would not allow him to participate in contact sports. He joined his high school team, coached by Frank "Doc" Wargo, initially without his parents' permission.
College and professional career
After graduating in 1942, Parseghian enrolled at the University of Akron. American involvement in World War II began after the attack on Pearl Harbor in 1941, however, and he quit school to join the U.S. Navy. The Navy transferred him for training to Naval Station Great Lakes near Chicago, where Paul Brown was coaching a service football team. Brown was a well-known high school coach in Ohio, having led his Massillon Washington High School teams to a series of state championships. Parseghian was named the team's starting fullback before the 1944 season, but he was sidelined with an ankle injury and did not play in any games as Great Lakes amassed a 9–2–1 record and was ranked 17th in the nation in the AP Poll. Parseghian later said that despite not playing, watching Brown's methodical and strict coaching methods – and the ease with which he commanded players much larger than he was – was a "priceless" experience.
After his military service, Parseghian enrolled at Miami of Ohio and played halfback on the school's football team in 1946 and 1947 under coach Sid Gillman. As with Brown, Parseghian paid close attention to Gillman, a post-war football pioneer who helped popularize deep downfield passes as the T formation came into vogue. He was named an All-Ohio halfback and a Little All-American by sportswriters in 1947.
Parseghian was selected by the Pittsburgh Steelers of the National Football League in the 13th round of the 1947 draft. He was also selected by the Cleveland Browns of the rival All-America Football Conference (AAFC), a team coached by Paul Brown, his old Great Lakes coach. Parseghian left Miami with six semester credit hours remaining and signed with the Browns.
Parseghian played halfback and defensive back for the Browns starting in 1948. While he only started one game that season, he was part of a potent offensive backfield that featured quarterback Otto Graham and fullback Marion Motley. The Browns won all of their games and a third straight AAFC championship in 1948. Parseghian suffered a serious injury to his hip in the second game of the 1949 season against the Baltimore Colts, however, ending his playing career. He stayed with the Browns for the rest of the season, and the team went on to win another AAFC championship. With the Browns, he had 44 carries for 166 yards, three receptions for 33 yards, scored two touchdowns, and intercepted one pass.
Coaching career
Miami (Ohio)
Parseghian's injury and the end of his professional playing career were a source of frustration, but he soon got the chance to move into the coaching ranks. Woody Hayes, the head coach at Miami of Ohio, contacted him about a job as coach of the freshman team. He was recommended for the position by athletic director John Brickels, who had been an assistant coach with the Browns in 1948. Parseghian led the freshmen to a 4–0 record in the 1950 season and was chosen the following year as Hayes's successor when Hayes departed to become head coach at Ohio State University.
Parseghian's teams at Miami consistently did well in the Mid-American Conference, posting a 7–3 record in 1951 and improving to 8–1 the following year. Miami's Redskins (now known as RedHawks) were conference champions in 1954 and in 1955, when they went undefeated. Parseghian's success, which included two wins over larger Big Ten Conference schools, raised his profile nationally as a head coaching prospect. In late 1955, he was hired to coach at Northwestern University in Evanston, Illinois, one of the Big Ten schools Miami had beaten. Parseghian compiled a 39–6–1 record in five seasons at Miami.
Northwestern
Northwestern's football program was in transition when Parseghian arrived in 1956 to take over the coaching reins. Bob Voigts had quit as head coach in February 1955, leaving his assistant Lou Saban to guide the team. Under Saban, a former Browns teammate of Parseghian's, Northwestern finished at 0–8–1, the worst-ever record in its history at the time. Ted Payseur, the school's athletic director, resigned after the season under pressure from alumni and was replaced by Stu Holcomb. One of Holcomb's first moves was to fire Saban and replace him with Parseghian.
Parseghian was the 20th head coach of the Northwestern Wildcats football team and was the youngest coach in the Big Ten when he took the job at 32 years old. His Northwestern career began in 1956 with just one win in his first six games. The Wildcats put together three wins at the end of the season, however, and finished with a 4–4–1 record. Northwestern proceeded to lose all nine of its games in the 1957 season. Bo Schembechler—a member of the 1957 Northwestern staff and teammate of Parshegian's at Miami—called Parshegian's performance during the 1957 season the best job of coaching Schembechler ever witnessed. Despite the losses (many of them by close margins), Parshegian kept his team united and focused. That crucible set the stage for a much more successful campaign in 1958, when Northwestern finished with a 5–4 record that included victories over conference rivals Michigan and Ohio State.
Northwestern began the 1959 season in the top ten in the AP Poll and started with a 45–13 win over Oklahoma, then the top-ranked team in the country. It was the first of a string of victories that propelled Northwestern to the number-two spot in the AP Poll. Led by quarterback John Talley and star halfback Ron Burton, the team beat Michigan again and won a match-up in October against Notre Dame, a school Northwestern had not played since 1948. Three straight losses at the end of the season ended the team's run at the conference championship, however.
The following four seasons brought a mix of success and challenges. Parseghian's best year at Northwestern was in 1962, when the team finished at 7–2. Parseghian was a shrewd recruiter, using Northwestern's small budget to find versatile players overlooked by the bigger rival programs. In 1962, he put his faith in sophomore quarterback Tom Myers to guide the team. Myers, aided by a big offensive line and by star receiver Paul Flatley, led a passing attack that helped Northwestern to the top of the AP Poll in the middle of the season following wins against Ohio State and Notre Dame. Parseghian called the close win against Hayes and Ohio State "one of Northwestern's greatest victories". The following week's Notre Dame game drew a 55,752 people, which remained the largest crowd ever to see a home game at Northwestern as of 2005. Despite those wins, late-season losses to Michigan State and Wisconsin cost the team a chance at the Big Ten championship.
At Northwestern, Parseghian developed a reputation as an affable, down-to-earth coach. While he took his job seriously, he cultivated an informal rapport with players, who called him "Ara" rather than "coach" or "Mr. Parseghian". Given his closeness in age to many of the players, he "empathizes with us well", Northwestern tackle Andy Cvercko said in 1959. Parseghian occasionally joined in practices with the players and organized games of touch football. He had other quirks, like lowering the intensity of practices as game day approached to let the players "build up psychologically", something he learned from Paul Brown.
Parseghian remained at Northwestern for eight seasons until 1963. His career coaching record there was 36–35–1. This ranks him third at Northwestern in total wins and ninth at Northwestern in winning percentage. Parseghian's teams beat Notre Dame four straight times after their annual series was renewed in 1959 following a decade-long hiatus.
Toward the end of his tenure at Northwestern, Parseghian grew frustrated by the school's limited financial resources, curbs on football scholarships, and academic standards for athletes that were more stringent than at other Big Ten schools. He also clashed with athletic director Holcomb, who told him in 1963 that his contract would not be renewed after that season despite coaching the team to within two wins of a national championship the previous year. "I took them to the top of the polls in 1962, and that was not good enough for Northwestern", Parseghian said many years later.
Notre Dame
Parseghian's coaching career at Northwestern was approaching its end in 1963. In November of that year, he called Father Edmund Joyce, the vice president and chairman of the athletics board at Notre Dame, a Catholic university near South Bend, Indiana. He asked whether interim head football coach Hugh Devore was going to be given the job on a longer-term basis. When Joyce said the university was searching for a new coach, Parseghian expressed an interest in the job. Joyce did not immediately seem warm to the idea, however, and Parseghian explored an offer to coach at the University of Miami in Florida, where his old friend Andy Gustafson had been promoted from head coach to athletic director. Notre Dame was also considering Dan Devine for its coaching job but ultimately offered it to Parseghian. Parseghian waffled at first, recalling his father's misguided anti-Catholicism, but accepted in December and was given a salary of about $20,000 a year ($ today).
Parseghian's candidacy for the head coaching job at Notre Dame was unusual because he was not a Notre Dame graduate, as every head coach since Knute Rockne had been. Parseghian was also an Armenian Presbyterian, making him the first non-Catholic coach since Rockne, who converted in 1925. Before hiring Parseghian, Joyce made it clear that he did not care about Parseghian's religion but simply wanted someone who could lead the football team to success.
As had been the case at Northwestern, Notre Dame's football program was in a state of flux when Parseghian arrived. Notre Dame had built a proud history under Rockne and Frank Leahy (its two most successful coaches), but the late 1950s and early 1960s had been a disaster. The team had finished 5–5 in 1962 under Joe Kuharich, who lost the confidence of his players and Notre Dame's administrators during his four years as coach. Kuharich's surprise departure at the end of that season to become supervisor of officials in the National Football League, a position created by his friend and NFL commissioner Pete Rozelle, left the program in disarray. Devore, a long-time Notre Dame employee who had played for Rockne and coached under Leahy, was brought in to lead the team on an interim basis in 1963. Notre Dame managed only a 2–7 finish that year.
Turnaround and the 1964 season
Parseghian quickly turned the program around in 1964; he re-established a sense of confidence and team spirit that had been lost under Kuharich and Devore. Practices were carefully planned and organized with the help of a coaching staff that consisted of three assistants from Northwestern and four former Notre Dame players. Parseghian listened to players' concerns about the program and addressed them. He invigorated the team's offense by favoring passing and bringing in smaller and quicker players. A rule change allowing unlimited substitutions starting in 1964 helped make this strategy successful; fast-running receivers could now be taken out of the game and rested as others replaced them.
Parseghian also recognized talent in quarterback John Huarte and wide receiver Jack Snow, who had been used only sparingly for two seasons by previous coaches. Huarte could throw far and accurately but was soft-spoken, a trait Parseghian and his staff helped change. Snow was large for a receiver of his era, but Parseghian thought his athleticism and sure hands would make him a good wideout. Still, expectations were muted for the 1964 season: Parseghian told his coaches that the team would have a 6–4 record if they were lucky. Sports Illustrated predicted a 5–5 record at best, and the team did not rank among the top 20 programs in the country in the pre-season AP Poll.
Notre Dame nonetheless opened the season with a 31–7 victory over heavily favored Wisconsin, a game in which Huarte threw for more yards than the team's leading passer had over the entire 1963 season. Notre Dame players carried Parseghian off the field after the win, which vaulted the team to ninth place in the polls. A string of victories followed, first against Purdue and then Air Force and UCLA. Notre Dame rose to first place in the national polls following a 40–0 win over Navy in October. The team went undefeated until the last game of the year against USC, who won 20–17 in the final minutes on a touchdown pass from Craig Fertig to Rod Sherman. The loss unseated Notre Dame from the top ranking in the national polls, but the team still won the MacArthur Trophy, a championship awarded by the National Football Foundation.
Huarte passed for 2,062 yards and set 12 school records in 1964, four of which still stood as of 2009. He also won the Heisman Trophy. Snow led the country in receptions with 60. At the same time, Parseghian won numerous coach of the year awards for engineering the turnaround, including from the American Football Coaches Association, the Football Writers Association of America, the Washington Touchdown Club, the Columbus Touchdown Club, and Football News.
Huarte and Snow graduated after the 1964 season, and Notre Dame felt their absence the following year, posting a 7–2–1 record. While the team did not contend for a national title, defensive back Nick Rassas led the nation in punt returns and came in sixth in interceptions; he was named a first-team All-American by sportswriters.
First national title
In 1966, Parseghian guided Notre Dame to its first national championship since the Leahy era. Led by quarterback Terry Hanratty, running back Nick Eddy, star receiver Jim Seymour, and fullback Larry Conjar, the offense was best in the nation in scoring, with an average of 36.2 points per game. The defense was second in the country in points allowed, thanks to strong performances by linebacker Jim Lynch and defensive end Alan Page.
The season began with eight straight victories, propelling Notre Dame to the top of the national polls. The team then faced Michigan State, which was ranked second in the polls and was also undefeated. The contest, one among a number referred to as the "game of the century", ended in a 10–10 tie. Parseghian was criticized for winding down the clock instead of trying to score despite having the ball in the final seconds of the game. He defended his strategy by maintaining that several key starters had been knocked out of action early in the game and that he did not want to spoil a courageous comeback from a 10–0 deficit by risking a turnover deep in his own territory late in the game. When Parseghian's team trounced USC 51–0 the following week, critics alleged that he ran up the score to impress poll voters who had split the number-one ranking between Notre Dame and Michigan State following the tie. Subsequent to the USC rout, the final wire service polls gave Parseghian's team the national championship, although Notre Dame continued its policy of not participating in a post-season bowl game. Nine members of the team were selected as All-Americans, and Parseghian was named coach of the year by Sporting News.
Several winning seasons followed, but Notre Dame did not repeat as national champion in the late 1960s. In 1969, the team finished with an 8–2–1 record and accepted an invitation to play in the postseason Cotton Bowl. With this game, the school ended a long-standing policy of not playing in bowl games. The university urgently needed money to fund minority scholarships and decided to use the proceeds from bowl games for this purpose. Parseghian's team lost the game, 21–17, to the eventual national champion Texas Longhorns.
Later Notre Dame career
Notre Dame continued to succeed under Parseghian in the early 1970s. Led by senior quarterback Joe Theismann, the team finished second in the polls in 1970 and avenged its Cotton Bowl loss, defeating the Longhorns 24–11 in an upset. In 1973, Parseghian had a perfect season and won a second national championship, topped off by a 24–23 win over Alabama in the Sugar Bowl. Both teams were undefeated going into the game, but Alabama had held the top spot in the national polls. Parseghian was named Coach of the Year by Football News.
Before the start of the 1974 season, several key defensive players were suspended for allegations of sexual misconduct, but charges were never filed. Parseghian called the loss of those key defensive players "a great disappointment". Several other key players were injured. An upset loss to underdog Purdue in the third game of the season derailed the team's hopes to repeat as national champions. The ever-present pressure to win took its toll. In the middle of the season, Parseghian privately decided to resign for the sake of his health. He was also dealing with the deaths of three close friends that year as well as his daughter's battle with multiple sclerosis. He officially stepped down in mid-December after rumors began to surface that he was leaving for a post with another college program or professional team. He said he was "physically exhausted and emotionally drained" after 25 years of coaching and needed a break. His last game was Notre Dame's 13–11 win in a rematch against Alabama in the Orange Bowl. After 11 seasons as head coach of the Fighting Irish, he was succeeded by Dan Devine. His record at Notre Dame was 95–17–4, giving him the second-most wins by any football coach in
the school's history, trailing only Knute Rockne.
Parseghian, who was 51 at the time, said he planned to take at least a year off from coaching before considering a run at a job in the professional ranks. Rumors circulated throughout 1975 that he might return to Notre Dame, but both he and Devine denied them. In December, he finally decided that he would not coach in 1976 despite reportedly being pursued by the New York Jets of the NFL. He would instead host a television show beginning the following fall. He made his last appearance on the sidelines when he coached the college players in the annual Chicago College All-Star Game against the defending Super Bowl champion Pittsburgh Steelers on July 23, 1976, at Chicago's Soldier Field. The game was halted with 1:22 remaining in the third quarter when a torrential thunderstorm broke out; after fans rushed onto the field, play was never resumed. It was the last such game ever played.
During Parseghian's tenure at Notre Dame, the school's long-dormant football rivalry with Michigan was revived through an agreement signed in 1970. The schools, which had not met since 1943, agreed to resume the series with the 1978 season. Notre Dame athletic director Moose Krause orchestrated the deal with Don Canham, his counterpart at Michigan, but Parseghian's friendship with Wolverine head coach Bo Schembechler also played a role. Parseghian and Schembechler were teammates at Miami University in Ohio, and Schembechler served on Parseghian's staff at Northwestern in 1956 and 1957. Schembechler told Parseghian in 1970 that he was looking forward to facing Notre Dame, but Parseghian replied that he would "never have that opportunity".
While at Notre Dame, Parseghian did away with all ornamentation on players' uniforms, eliminating shamrocks and shoulder stripes and switched the team's home jerseys to navy blue. The Irish never wore green jerseys during his tenure. His successful run at Notre Dame is sometimes referred to as the "Era of Ara".
Later life
Parseghian launched a broadcasting career after leaving Notre Dame. He served as a color analyst for ABC Sports from 1975 to 1981 covering a series of regional and national college football games. He moved to CBS Sports in 1982 and covered college games for that network until 1988.
Parseghian, who amassed a career coaching record of 170–58–6 at Miami, Northwestern and Notre Dame, was inducted into the College Football Hall of Fame in 1980. He was inducted into the Miami University Athletic Hall of Fame as part of its charter class in 1969 and became a member of the Indiana Football Hall of Fame in 1984. He was also inducted into the Cotton Bowl Classic Hall of Fame in 2007. Parseghian was awarded an honorary doctorate in humanities by Miami in 1978 and served on the school's board of trustees between 1978 and 1987. He also received an honorary degree from Notre Dame in 1997 and won the Amos Alonzo Stagg Award the same year for his contributions to the sport.
Jason Miller portrayed Parseghian in the 1993 film Rudy, which chronicled Rudy Ruettiger's determination to overcome his small size and dyslexia and play for Notre Dame in 1974. Parseghian saw Ruettiger's drive and placed him on the scout team but resigned at the end of the year. Devine, Parseghian's successor, put Ruettiger in on defense at the end of the final game of the 1975 season, and Ruettiger recorded a sack.
Along with Lou Holtz, Parseghian served as one of two honorary coaches in Notre Dame's 2007 spring game, an annual scrimmage held in April. Holtz's Gold team defeated Parseghian's Blue team, 10–6. The same year, Notre Dame unveiled a statue in Parseghian's honor by sculptor Jerry McKenna, depicting players carrying him off the field in triumph following the 1971 Cotton Bowl victory over Texas. In 2011, Miami also unveiled a statue in his honor to add to the RedHawks' Cradle of Coaches plaza. It shows him wearing a Notre Dame sweater as he kneels and looks ahead to the field.
Parseghian, who was married to the former Kathleen Davis, also became involved with medical causes later in life. Along with Mike and Cindy Parseghian, his son and daughter-in-law, he founded the Ara Parseghian Medical Research Foundation in 1994. The foundation is seeking a cure for Niemann-Pick disease Type C, a genetic disorder affecting children that causes the buildup of cholesterol in cells, resulting in damage to the nervous system and eventually death. Three of his grandchildren, Michael, Marcia, and Christa Parseghian, died from the disease. He was also active in the cause to find a cure for multiple sclerosis; his daughter Karan was diagnosed with the disease.
Parseghian died on August 2, 2017, at his home in Granger, Indiana, at the age of 94. At the time of his death, he was suffering from a post-surgical hip infection after undergoing hip surgery weeks before his death. He was buried in the Cedar Grove Cemetery in Notre Dame, Indiana.
Head coaching record
*Note: before the 1974 season, the final Coaches Poll, also known then as the UPI Poll, was released before the bowl games, so a team that lost its bowl game could still claim the UPI national championship. This was changed as a result of Alabama winning the 1973 Coaches Poll national championship despite losing to Notre Dame in the Sugar Bowl.
Coaching tree
Assistants under Parseghian who became college or professional head coaches:
John Pont: Miami (OH) (1956-1962), Yale Bulldogs (1963-1964), Indiana Hoosiers (1965-1972), Northwestern Wildcats (1973-1977), Mount St. Joseph Lions (1990-1992)
Alex Agase: Northwestern Wildcats (1964-1972), Purdue Boilermakers (1973-1976)
Bo Schembechler: Miami (OH) (1963-1968), Michigan (1969-1989)
Warren Schmakel: Boston University Terriers (1964-1968)
Doc Urich: Buffalo Bulls (1966-1968), Northern Illinois (1969-1970)
Jerry Wampfler: Colorado State Rams (1970-1972)
Ed Chlebek: Eastern Michigan Hurons (1976-1978), Boston College Eagles (1978-1980), Kent State Golden Flashes (1981-1982)
References
Bibliography
Further reading
External links
Ara Parseghian Medical Research Foundation
Cradle of Coaches Archive: A Legacy of Excellence - Ara Parseghian, Miami University Libraries
1923 births
2017 deaths
American football halfbacks
American men's basketball players
College football announcers
Notre Dame Fighting Irish football coaches
Northwestern Wildcats football coaches
Miami RedHawks football coaches
Miami RedHawks football players
Miami RedHawks men's basketball players
College Football Hall of Fame inductees
Cleveland Browns (AAFC) players
Great Lakes Navy Bluejackets football players
Miami University trustees
United States Navy personnel of World War II
United States Navy sailors
Military personnel from Ohio
Players of American football from Akron, Ohio
Basketball players from Akron, Ohio
American Presbyterians
Ethnic Armenian sportspeople
American sportspeople of Armenian descent
American people of French descent
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[
"The 2020 Eurohockey Indoor Championship II was the 7th edition of the tournament. It took take place from 17 to 19 January 2020 in Lucerne, Switzerland.\n\nQualified Teams\n\nSweden finished 3rd in the previous tournament, but did not take part in 2020. Instead Turkey, which as 7th placed team in 2018 were originally relegated, took part.\n\nFormat\nThe eight teams are split into two groups of four teams. The bottom two teams from pool A and B, play in a new group, pool C, against the teams they did not play against in the group stage. The top two teams from pool A and B, will also play in a new group, pool D, where they play the teams they did not play against in the group stage to determine the winner. All points from pools A and B will be taken over in pools C and D. The top two teams will be promoted to the 2022 Men's EuroHockey Indoor Nations Championship. The last two teams will be relegated to the 2022 Eurohockey Indoor Championship III.\n\nResults\n''All times are local (UTC+1).\n\nPreliminary round\n\nPool A\n\nPool B\n\nFifth to eighth place classification\n\nPool C\nThe points obtained in the preliminary round against the other team are taken over.\n\nPool D\nThe points obtained in the preliminary round against the other team are taken over.\n\nFinal standings\n\nReferences\n\nMen's EuroHockey Indoor Championship II\nInternational indoor hockey competitions hosted by Switzerland\nEuroHockey Indoor Nations Championship Men\nIndoor Men\nEuroHockey Indoor Nations Championship Men\nEvents in Lucerne",
"The Zanesville Mark Grays were an Ohio League and Independent football team that existed for seven seasons. They played in 4 Ohio League seasons.\n\nOhio League\nTheir first season was in 1916. They played two games against the same team, the \"Newark Fitzsimmons\". They lost both games. The next year they played two games against the Fitzsimmons, and they won both. In 1918 they did not play any games. In 1919 they played 8 games and had a 7–1 record.\n\nIndependent\nIn 1920 they played 6 games and had a record of 3-1-2. They played two games against the Columbus Panhandles, an NFL (then known as the APFA) team. They did not play in 1921. Their last season was in 1922 where they had a 1–0 record.\n\nReferences\n\nAmerican football teams established in 1916\nAmerican football teams disestablished in 1922\nDefunct American football teams in Ohio"
] |
[
"Ara Parseghian",
"Turnaround and the 1964 season",
"Was the 1964 season successful?",
"Notre Dame nonetheless opened the season with a 31-7 victory over heavily favored Wisconsin,",
"Any players of note?",
"Parseghian also recognized talent in quarterback John Huarte and wide receiver Jack Snow, who had been used only sparingly for two seasons by previous coaches.",
"Did they break any school or other records?",
"Huarte passed for 2,062 yards and set 12 school records in 1964, four of which still stood as of 2009.",
"Were there any injuries during this time?",
"I don't know.",
"Were there any conflicts during this time?",
"I don't know.",
"Anything of note happen during this time?",
"The team went undefeated until the last game of the year against USC, who won 20-17 in the final minutes",
"Who scored during that game?",
"won 20-17 in the final minutes on a touchdown pass from Craig Fertig to Rod Sherman.",
"What teams did they play against?",
"first against Purdue and then Air Force and UCLA. Notre Dame rose to first place in the national polls following a 40-0 win over Navy in October."
] |
C_a814950faee84faa853ccca12c4d78a4_1
|
Was there anything special about his coaching style?
| 9 |
Was there anything special about Asa Parseghian's coaching style?
|
Ara Parseghian
|
Parseghian quickly turned things around in 1964; he re-established a sense of confidence and team spirit that had been lost under Kuharich and Devore. Practices were carefully planned and organized with the help of a coaching staff that consisted of three assistants from Northwestern and four former Notre Dame players. Parseghian listened to players' concerns about the program and addressed them. He invigorated the team's offense by favoring passing and bringing in smaller and quicker players. A rule change allowing unlimited substitutions starting in 1964 helped make this strategy successful; fast-running receivers could now be taken out of the game and rested as others replaced them. Parseghian also recognized talent in quarterback John Huarte and wide receiver Jack Snow, who had been used only sparingly for two seasons by previous coaches. Huarte could throw far and accurately but was soft-spoken, a trait Parseghian and his staff helped change. Snow was large for a receiver of his era, but Parseghian thought his athleticism and sure hands would make him a good wideout. Still, expectations were muted for the 1964 season: Parseghian told his coaches that the team would have a 6-4 record if they were lucky. Sports Illustrated predicted a 5-5 record at best, and the team did not rank among the top 20 programs in the country in the pre-season AP Poll. Notre Dame nonetheless opened the season with a 31-7 victory over heavily favored Wisconsin, a game in which Huarte threw for more yards than the team's leading passer had over the entire 1963 season. Notre Dame players carried Parseghian off the field after the win, which vaulted the team to ninth place in the polls. A string of victories followed, first against Purdue and then Air Force and UCLA. Notre Dame rose to first place in the national polls following a 40-0 win over Navy in October. The team went undefeated until the last game of the year against USC, who won 20-17 in the final minutes on a touchdown pass from Craig Fertig to Rod Sherman. The loss unseated Notre Dame from the top ranking in the national polls, but the team still won the MacArthur Trophy, a championship awarded by the National Football Foundation. Huarte passed for 2,062 yards and set 12 school records in 1964, four of which still stood as of 2009. He also won the Heisman Trophy. Snow led the country in receptions, with 60. Parseghian, meanwhile, won numerous coach of the year awards for engineering the turnaround, including from the American Football Coaches Association, the Football Writers Association of America, the Washington Touchdown Club, the Columbus Touchdown Club, and Football News. Huarte and Snow graduated after the 1964 season, and Notre Dame felt their absence the following year, posting a 7-2-1 record. While the team did not contend for a national title, defensive back Nick Rassas led the nation in punt returns and came in sixth in interceptions; he was named a first-team All-American by sportswriters. CANNOTANSWER
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he re-established a sense of confidence and team spirit that had been lost under Kuharich and Devore. Practices were carefully planned and organized
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Ara Raoul Parseghian (; ; May 21, 1923 – August 2, 2017) was an American football player and coach who guided the University of Notre Dame to national championships in 1966 and 1973. He is noted for bringing Notre Dame's Fighting Irish football program back from years of futility into national prominence in 1964 and is widely regarded alongside Knute Rockne and Frank Leahy as a part of the "Holy Trinity" of Notre Dame head coaches.
Parseghian grew up in Akron, Ohio and played football beginning in his junior year of high school. He enrolled at the University of Akron, but soon quit to join the U.S. Navy for two years during World War II. After the war, he finished his college career at Miami University in Ohio and went on to play halfback for the Cleveland Browns of the All-America Football Conference in 1948 and 1949. Cleveland won the league championship both of those years.
Parseghian's playing career was cut short by a hip injury. He left the Browns and took a job as an assistant coach at Miami of Ohio. When head coach Woody Hayes left in 1951 to coach at Ohio State University, Parseghian took over his job. He stayed in that position until 1956, when he was hired as head coach at Northwestern University in Illinois. In eight seasons there, he amassed a win-loss-tie record of 36–35–1 and helped turn a perennial loser into a consistent contender in the national polls.
Parseghian's success attracted the interest of Notre Dame, which had not posted a winning record in five straight seasons. He was hired as coach in 1964 and quickly turned the program around, coming close to capturing a national championship in his first year. He proceeded to win two national titles in 11 seasons as coach of the Fighting Irish, a period often referred to as "the Era of Ara". During that span, Parseghian's teams placed in the top ten of the final AP poll nine times and never finished lower than 14th. He never had a losing season at Notre Dame and posted an overall record of 95–17–4, giving him the fourth-most wins of any coach in school history after Rockne (105), Brian Kelly (101) and Lou Holtz (100). Parseghian's .836 winning percentage while at Notre Dame ranks behind only Rockne's .881 and Leahy's .855, leading to his inclusion in the "Holy Trinity" of Fighting Irish coaches.
Parseghian retired from coaching in 1974 and began a broadcasting career calling college football games for ABC and CBS. He also dedicated himself to medical causes later in life after his daughter was diagnosed with multiple sclerosis and three of his grandchildren died of a rare genetic disease. Parseghian was inducted into the College Football Hall of Fame as a coach in 1980. His career coaching record is 170–58–6.
Early life and high school
Parseghian was the youngest of three children born to an Armenian father and a French mother in Akron, Ohio. His father Michael had come to the United States from the Ottoman Empire in 1915, fleeing the Armenian genocide during World War I and settling in Akron where there was a large Armenian population. Despite his mother's protectiveness, Parseghian became involved in sports from an early age and developed a reputation as the toughest kid in his class. He was hired by Akron's Board of Education in the eighth grade to patrol his school's grounds at night to deter vandals.
Parseghian played basketball at the local YMCA but did not play organized football until his junior year at South High School in Akron because his mother would not allow him to participate in contact sports. He joined his high school team, coached by Frank "Doc" Wargo, initially without his parents' permission.
College and professional career
After graduating in 1942, Parseghian enrolled at the University of Akron. American involvement in World War II began after the attack on Pearl Harbor in 1941, however, and he quit school to join the U.S. Navy. The Navy transferred him for training to Naval Station Great Lakes near Chicago, where Paul Brown was coaching a service football team. Brown was a well-known high school coach in Ohio, having led his Massillon Washington High School teams to a series of state championships. Parseghian was named the team's starting fullback before the 1944 season, but he was sidelined with an ankle injury and did not play in any games as Great Lakes amassed a 9–2–1 record and was ranked 17th in the nation in the AP Poll. Parseghian later said that despite not playing, watching Brown's methodical and strict coaching methods – and the ease with which he commanded players much larger than he was – was a "priceless" experience.
After his military service, Parseghian enrolled at Miami of Ohio and played halfback on the school's football team in 1946 and 1947 under coach Sid Gillman. As with Brown, Parseghian paid close attention to Gillman, a post-war football pioneer who helped popularize deep downfield passes as the T formation came into vogue. He was named an All-Ohio halfback and a Little All-American by sportswriters in 1947.
Parseghian was selected by the Pittsburgh Steelers of the National Football League in the 13th round of the 1947 draft. He was also selected by the Cleveland Browns of the rival All-America Football Conference (AAFC), a team coached by Paul Brown, his old Great Lakes coach. Parseghian left Miami with six semester credit hours remaining and signed with the Browns.
Parseghian played halfback and defensive back for the Browns starting in 1948. While he only started one game that season, he was part of a potent offensive backfield that featured quarterback Otto Graham and fullback Marion Motley. The Browns won all of their games and a third straight AAFC championship in 1948. Parseghian suffered a serious injury to his hip in the second game of the 1949 season against the Baltimore Colts, however, ending his playing career. He stayed with the Browns for the rest of the season, and the team went on to win another AAFC championship. With the Browns, he had 44 carries for 166 yards, three receptions for 33 yards, scored two touchdowns, and intercepted one pass.
Coaching career
Miami (Ohio)
Parseghian's injury and the end of his professional playing career were a source of frustration, but he soon got the chance to move into the coaching ranks. Woody Hayes, the head coach at Miami of Ohio, contacted him about a job as coach of the freshman team. He was recommended for the position by athletic director John Brickels, who had been an assistant coach with the Browns in 1948. Parseghian led the freshmen to a 4–0 record in the 1950 season and was chosen the following year as Hayes's successor when Hayes departed to become head coach at Ohio State University.
Parseghian's teams at Miami consistently did well in the Mid-American Conference, posting a 7–3 record in 1951 and improving to 8–1 the following year. Miami's Redskins (now known as RedHawks) were conference champions in 1954 and in 1955, when they went undefeated. Parseghian's success, which included two wins over larger Big Ten Conference schools, raised his profile nationally as a head coaching prospect. In late 1955, he was hired to coach at Northwestern University in Evanston, Illinois, one of the Big Ten schools Miami had beaten. Parseghian compiled a 39–6–1 record in five seasons at Miami.
Northwestern
Northwestern's football program was in transition when Parseghian arrived in 1956 to take over the coaching reins. Bob Voigts had quit as head coach in February 1955, leaving his assistant Lou Saban to guide the team. Under Saban, a former Browns teammate of Parseghian's, Northwestern finished at 0–8–1, the worst-ever record in its history at the time. Ted Payseur, the school's athletic director, resigned after the season under pressure from alumni and was replaced by Stu Holcomb. One of Holcomb's first moves was to fire Saban and replace him with Parseghian.
Parseghian was the 20th head coach of the Northwestern Wildcats football team and was the youngest coach in the Big Ten when he took the job at 32 years old. His Northwestern career began in 1956 with just one win in his first six games. The Wildcats put together three wins at the end of the season, however, and finished with a 4–4–1 record. Northwestern proceeded to lose all nine of its games in the 1957 season. Bo Schembechler—a member of the 1957 Northwestern staff and teammate of Parshegian's at Miami—called Parshegian's performance during the 1957 season the best job of coaching Schembechler ever witnessed. Despite the losses (many of them by close margins), Parshegian kept his team united and focused. That crucible set the stage for a much more successful campaign in 1958, when Northwestern finished with a 5–4 record that included victories over conference rivals Michigan and Ohio State.
Northwestern began the 1959 season in the top ten in the AP Poll and started with a 45–13 win over Oklahoma, then the top-ranked team in the country. It was the first of a string of victories that propelled Northwestern to the number-two spot in the AP Poll. Led by quarterback John Talley and star halfback Ron Burton, the team beat Michigan again and won a match-up in October against Notre Dame, a school Northwestern had not played since 1948. Three straight losses at the end of the season ended the team's run at the conference championship, however.
The following four seasons brought a mix of success and challenges. Parseghian's best year at Northwestern was in 1962, when the team finished at 7–2. Parseghian was a shrewd recruiter, using Northwestern's small budget to find versatile players overlooked by the bigger rival programs. In 1962, he put his faith in sophomore quarterback Tom Myers to guide the team. Myers, aided by a big offensive line and by star receiver Paul Flatley, led a passing attack that helped Northwestern to the top of the AP Poll in the middle of the season following wins against Ohio State and Notre Dame. Parseghian called the close win against Hayes and Ohio State "one of Northwestern's greatest victories". The following week's Notre Dame game drew a 55,752 people, which remained the largest crowd ever to see a home game at Northwestern as of 2005. Despite those wins, late-season losses to Michigan State and Wisconsin cost the team a chance at the Big Ten championship.
At Northwestern, Parseghian developed a reputation as an affable, down-to-earth coach. While he took his job seriously, he cultivated an informal rapport with players, who called him "Ara" rather than "coach" or "Mr. Parseghian". Given his closeness in age to many of the players, he "empathizes with us well", Northwestern tackle Andy Cvercko said in 1959. Parseghian occasionally joined in practices with the players and organized games of touch football. He had other quirks, like lowering the intensity of practices as game day approached to let the players "build up psychologically", something he learned from Paul Brown.
Parseghian remained at Northwestern for eight seasons until 1963. His career coaching record there was 36–35–1. This ranks him third at Northwestern in total wins and ninth at Northwestern in winning percentage. Parseghian's teams beat Notre Dame four straight times after their annual series was renewed in 1959 following a decade-long hiatus.
Toward the end of his tenure at Northwestern, Parseghian grew frustrated by the school's limited financial resources, curbs on football scholarships, and academic standards for athletes that were more stringent than at other Big Ten schools. He also clashed with athletic director Holcomb, who told him in 1963 that his contract would not be renewed after that season despite coaching the team to within two wins of a national championship the previous year. "I took them to the top of the polls in 1962, and that was not good enough for Northwestern", Parseghian said many years later.
Notre Dame
Parseghian's coaching career at Northwestern was approaching its end in 1963. In November of that year, he called Father Edmund Joyce, the vice president and chairman of the athletics board at Notre Dame, a Catholic university near South Bend, Indiana. He asked whether interim head football coach Hugh Devore was going to be given the job on a longer-term basis. When Joyce said the university was searching for a new coach, Parseghian expressed an interest in the job. Joyce did not immediately seem warm to the idea, however, and Parseghian explored an offer to coach at the University of Miami in Florida, where his old friend Andy Gustafson had been promoted from head coach to athletic director. Notre Dame was also considering Dan Devine for its coaching job but ultimately offered it to Parseghian. Parseghian waffled at first, recalling his father's misguided anti-Catholicism, but accepted in December and was given a salary of about $20,000 a year ($ today).
Parseghian's candidacy for the head coaching job at Notre Dame was unusual because he was not a Notre Dame graduate, as every head coach since Knute Rockne had been. Parseghian was also an Armenian Presbyterian, making him the first non-Catholic coach since Rockne, who converted in 1925. Before hiring Parseghian, Joyce made it clear that he did not care about Parseghian's religion but simply wanted someone who could lead the football team to success.
As had been the case at Northwestern, Notre Dame's football program was in a state of flux when Parseghian arrived. Notre Dame had built a proud history under Rockne and Frank Leahy (its two most successful coaches), but the late 1950s and early 1960s had been a disaster. The team had finished 5–5 in 1962 under Joe Kuharich, who lost the confidence of his players and Notre Dame's administrators during his four years as coach. Kuharich's surprise departure at the end of that season to become supervisor of officials in the National Football League, a position created by his friend and NFL commissioner Pete Rozelle, left the program in disarray. Devore, a long-time Notre Dame employee who had played for Rockne and coached under Leahy, was brought in to lead the team on an interim basis in 1963. Notre Dame managed only a 2–7 finish that year.
Turnaround and the 1964 season
Parseghian quickly turned the program around in 1964; he re-established a sense of confidence and team spirit that had been lost under Kuharich and Devore. Practices were carefully planned and organized with the help of a coaching staff that consisted of three assistants from Northwestern and four former Notre Dame players. Parseghian listened to players' concerns about the program and addressed them. He invigorated the team's offense by favoring passing and bringing in smaller and quicker players. A rule change allowing unlimited substitutions starting in 1964 helped make this strategy successful; fast-running receivers could now be taken out of the game and rested as others replaced them.
Parseghian also recognized talent in quarterback John Huarte and wide receiver Jack Snow, who had been used only sparingly for two seasons by previous coaches. Huarte could throw far and accurately but was soft-spoken, a trait Parseghian and his staff helped change. Snow was large for a receiver of his era, but Parseghian thought his athleticism and sure hands would make him a good wideout. Still, expectations were muted for the 1964 season: Parseghian told his coaches that the team would have a 6–4 record if they were lucky. Sports Illustrated predicted a 5–5 record at best, and the team did not rank among the top 20 programs in the country in the pre-season AP Poll.
Notre Dame nonetheless opened the season with a 31–7 victory over heavily favored Wisconsin, a game in which Huarte threw for more yards than the team's leading passer had over the entire 1963 season. Notre Dame players carried Parseghian off the field after the win, which vaulted the team to ninth place in the polls. A string of victories followed, first against Purdue and then Air Force and UCLA. Notre Dame rose to first place in the national polls following a 40–0 win over Navy in October. The team went undefeated until the last game of the year against USC, who won 20–17 in the final minutes on a touchdown pass from Craig Fertig to Rod Sherman. The loss unseated Notre Dame from the top ranking in the national polls, but the team still won the MacArthur Trophy, a championship awarded by the National Football Foundation.
Huarte passed for 2,062 yards and set 12 school records in 1964, four of which still stood as of 2009. He also won the Heisman Trophy. Snow led the country in receptions with 60. At the same time, Parseghian won numerous coach of the year awards for engineering the turnaround, including from the American Football Coaches Association, the Football Writers Association of America, the Washington Touchdown Club, the Columbus Touchdown Club, and Football News.
Huarte and Snow graduated after the 1964 season, and Notre Dame felt their absence the following year, posting a 7–2–1 record. While the team did not contend for a national title, defensive back Nick Rassas led the nation in punt returns and came in sixth in interceptions; he was named a first-team All-American by sportswriters.
First national title
In 1966, Parseghian guided Notre Dame to its first national championship since the Leahy era. Led by quarterback Terry Hanratty, running back Nick Eddy, star receiver Jim Seymour, and fullback Larry Conjar, the offense was best in the nation in scoring, with an average of 36.2 points per game. The defense was second in the country in points allowed, thanks to strong performances by linebacker Jim Lynch and defensive end Alan Page.
The season began with eight straight victories, propelling Notre Dame to the top of the national polls. The team then faced Michigan State, which was ranked second in the polls and was also undefeated. The contest, one among a number referred to as the "game of the century", ended in a 10–10 tie. Parseghian was criticized for winding down the clock instead of trying to score despite having the ball in the final seconds of the game. He defended his strategy by maintaining that several key starters had been knocked out of action early in the game and that he did not want to spoil a courageous comeback from a 10–0 deficit by risking a turnover deep in his own territory late in the game. When Parseghian's team trounced USC 51–0 the following week, critics alleged that he ran up the score to impress poll voters who had split the number-one ranking between Notre Dame and Michigan State following the tie. Subsequent to the USC rout, the final wire service polls gave Parseghian's team the national championship, although Notre Dame continued its policy of not participating in a post-season bowl game. Nine members of the team were selected as All-Americans, and Parseghian was named coach of the year by Sporting News.
Several winning seasons followed, but Notre Dame did not repeat as national champion in the late 1960s. In 1969, the team finished with an 8–2–1 record and accepted an invitation to play in the postseason Cotton Bowl. With this game, the school ended a long-standing policy of not playing in bowl games. The university urgently needed money to fund minority scholarships and decided to use the proceeds from bowl games for this purpose. Parseghian's team lost the game, 21–17, to the eventual national champion Texas Longhorns.
Later Notre Dame career
Notre Dame continued to succeed under Parseghian in the early 1970s. Led by senior quarterback Joe Theismann, the team finished second in the polls in 1970 and avenged its Cotton Bowl loss, defeating the Longhorns 24–11 in an upset. In 1973, Parseghian had a perfect season and won a second national championship, topped off by a 24–23 win over Alabama in the Sugar Bowl. Both teams were undefeated going into the game, but Alabama had held the top spot in the national polls. Parseghian was named Coach of the Year by Football News.
Before the start of the 1974 season, several key defensive players were suspended for allegations of sexual misconduct, but charges were never filed. Parseghian called the loss of those key defensive players "a great disappointment". Several other key players were injured. An upset loss to underdog Purdue in the third game of the season derailed the team's hopes to repeat as national champions. The ever-present pressure to win took its toll. In the middle of the season, Parseghian privately decided to resign for the sake of his health. He was also dealing with the deaths of three close friends that year as well as his daughter's battle with multiple sclerosis. He officially stepped down in mid-December after rumors began to surface that he was leaving for a post with another college program or professional team. He said he was "physically exhausted and emotionally drained" after 25 years of coaching and needed a break. His last game was Notre Dame's 13–11 win in a rematch against Alabama in the Orange Bowl. After 11 seasons as head coach of the Fighting Irish, he was succeeded by Dan Devine. His record at Notre Dame was 95–17–4, giving him the second-most wins by any football coach in
the school's history, trailing only Knute Rockne.
Parseghian, who was 51 at the time, said he planned to take at least a year off from coaching before considering a run at a job in the professional ranks. Rumors circulated throughout 1975 that he might return to Notre Dame, but both he and Devine denied them. In December, he finally decided that he would not coach in 1976 despite reportedly being pursued by the New York Jets of the NFL. He would instead host a television show beginning the following fall. He made his last appearance on the sidelines when he coached the college players in the annual Chicago College All-Star Game against the defending Super Bowl champion Pittsburgh Steelers on July 23, 1976, at Chicago's Soldier Field. The game was halted with 1:22 remaining in the third quarter when a torrential thunderstorm broke out; after fans rushed onto the field, play was never resumed. It was the last such game ever played.
During Parseghian's tenure at Notre Dame, the school's long-dormant football rivalry with Michigan was revived through an agreement signed in 1970. The schools, which had not met since 1943, agreed to resume the series with the 1978 season. Notre Dame athletic director Moose Krause orchestrated the deal with Don Canham, his counterpart at Michigan, but Parseghian's friendship with Wolverine head coach Bo Schembechler also played a role. Parseghian and Schembechler were teammates at Miami University in Ohio, and Schembechler served on Parseghian's staff at Northwestern in 1956 and 1957. Schembechler told Parseghian in 1970 that he was looking forward to facing Notre Dame, but Parseghian replied that he would "never have that opportunity".
While at Notre Dame, Parseghian did away with all ornamentation on players' uniforms, eliminating shamrocks and shoulder stripes and switched the team's home jerseys to navy blue. The Irish never wore green jerseys during his tenure. His successful run at Notre Dame is sometimes referred to as the "Era of Ara".
Later life
Parseghian launched a broadcasting career after leaving Notre Dame. He served as a color analyst for ABC Sports from 1975 to 1981 covering a series of regional and national college football games. He moved to CBS Sports in 1982 and covered college games for that network until 1988.
Parseghian, who amassed a career coaching record of 170–58–6 at Miami, Northwestern and Notre Dame, was inducted into the College Football Hall of Fame in 1980. He was inducted into the Miami University Athletic Hall of Fame as part of its charter class in 1969 and became a member of the Indiana Football Hall of Fame in 1984. He was also inducted into the Cotton Bowl Classic Hall of Fame in 2007. Parseghian was awarded an honorary doctorate in humanities by Miami in 1978 and served on the school's board of trustees between 1978 and 1987. He also received an honorary degree from Notre Dame in 1997 and won the Amos Alonzo Stagg Award the same year for his contributions to the sport.
Jason Miller portrayed Parseghian in the 1993 film Rudy, which chronicled Rudy Ruettiger's determination to overcome his small size and dyslexia and play for Notre Dame in 1974. Parseghian saw Ruettiger's drive and placed him on the scout team but resigned at the end of the year. Devine, Parseghian's successor, put Ruettiger in on defense at the end of the final game of the 1975 season, and Ruettiger recorded a sack.
Along with Lou Holtz, Parseghian served as one of two honorary coaches in Notre Dame's 2007 spring game, an annual scrimmage held in April. Holtz's Gold team defeated Parseghian's Blue team, 10–6. The same year, Notre Dame unveiled a statue in Parseghian's honor by sculptor Jerry McKenna, depicting players carrying him off the field in triumph following the 1971 Cotton Bowl victory over Texas. In 2011, Miami also unveiled a statue in his honor to add to the RedHawks' Cradle of Coaches plaza. It shows him wearing a Notre Dame sweater as he kneels and looks ahead to the field.
Parseghian, who was married to the former Kathleen Davis, also became involved with medical causes later in life. Along with Mike and Cindy Parseghian, his son and daughter-in-law, he founded the Ara Parseghian Medical Research Foundation in 1994. The foundation is seeking a cure for Niemann-Pick disease Type C, a genetic disorder affecting children that causes the buildup of cholesterol in cells, resulting in damage to the nervous system and eventually death. Three of his grandchildren, Michael, Marcia, and Christa Parseghian, died from the disease. He was also active in the cause to find a cure for multiple sclerosis; his daughter Karan was diagnosed with the disease.
Parseghian died on August 2, 2017, at his home in Granger, Indiana, at the age of 94. At the time of his death, he was suffering from a post-surgical hip infection after undergoing hip surgery weeks before his death. He was buried in the Cedar Grove Cemetery in Notre Dame, Indiana.
Head coaching record
*Note: before the 1974 season, the final Coaches Poll, also known then as the UPI Poll, was released before the bowl games, so a team that lost its bowl game could still claim the UPI national championship. This was changed as a result of Alabama winning the 1973 Coaches Poll national championship despite losing to Notre Dame in the Sugar Bowl.
Coaching tree
Assistants under Parseghian who became college or professional head coaches:
John Pont: Miami (OH) (1956-1962), Yale Bulldogs (1963-1964), Indiana Hoosiers (1965-1972), Northwestern Wildcats (1973-1977), Mount St. Joseph Lions (1990-1992)
Alex Agase: Northwestern Wildcats (1964-1972), Purdue Boilermakers (1973-1976)
Bo Schembechler: Miami (OH) (1963-1968), Michigan (1969-1989)
Warren Schmakel: Boston University Terriers (1964-1968)
Doc Urich: Buffalo Bulls (1966-1968), Northern Illinois (1969-1970)
Jerry Wampfler: Colorado State Rams (1970-1972)
Ed Chlebek: Eastern Michigan Hurons (1976-1978), Boston College Eagles (1978-1980), Kent State Golden Flashes (1981-1982)
References
Bibliography
Further reading
External links
Ara Parseghian Medical Research Foundation
Cradle of Coaches Archive: A Legacy of Excellence - Ara Parseghian, Miami University Libraries
1923 births
2017 deaths
American football halfbacks
American men's basketball players
College football announcers
Notre Dame Fighting Irish football coaches
Northwestern Wildcats football coaches
Miami RedHawks football coaches
Miami RedHawks football players
Miami RedHawks men's basketball players
College Football Hall of Fame inductees
Cleveland Browns (AAFC) players
Great Lakes Navy Bluejackets football players
Miami University trustees
United States Navy personnel of World War II
United States Navy sailors
Military personnel from Ohio
Players of American football from Akron, Ohio
Basketball players from Akron, Ohio
American Presbyterians
Ethnic Armenian sportspeople
American sportspeople of Armenian descent
American people of French descent
| true |
[
"Tom Barrise born (February 3, 1954) is an American basketball coach who became the interim head coach of the New Jersey Nets for two games. Barrise replaced Lawrence Frank after the Nets began the 2009–10 season with 16 consecutive losses. There were talks of Barrise finishing out the season as Interim Head Coach, but the job went to Kiki Vandeweghe. The Nets lost both games in which he served as head coach.\n\nCoaching career\nBarrise served under Coaches Lawrence Frank and Kiki Vandeweghe as Nets' assistant coach from 2004 to 2010, until he was named Special Assistant to Team President Rod Thorn in January 2010. When Thorn announced his retirement that June, Barrise was rumored to be a possible replacement. It was announced in July that Barrise would return to his old job as an assistant coach, this time for newly appointed Head Coach Avery Johnson. Following the 2011–12 season, Barrise was let go by the Nets.\n\nBarrise was also head coach of Ramapo College from 1992 to 1995.\n\nHead coaching record\n\n|-\n| style=\"text-align:left;\"|New Jersey\n| style=\"text-align:left;\"|\n|2||0||2|||| style=\"text-align:center;\"|(interim)||—||—||—||—\n| style=\"text-align:center;\"|—\n|- class=\"sortbottom\"\n| style=\"text-align:left;\"|Career\n| ||2||0||2|||| ||—||—||—||—\n\nReferences\n\n1954 births\nLiving people\nCollege men's basketball head coaches in the United States\nBrooklyn Nets assistant coaches\nFairleigh Dickinson Knights men's basketball players\nNew Jersey Nets assistant coaches\nNew Jersey Nets head coaches\nAmerican men's basketball players",
"Edward “Eddie” Allen is an American football coach and former player. He was most recently the Special Teams Coordinator at the University of Connecticut. He has coordinated special teams for the majority of his coaching career. Before UConn, Allen had coaching stops at Hofstra, Fort Scott Community College, Rutgers, Rhode Island, and Delaware.\n\nCoaching career\n\nAllen got his coaching start in 2003 as a graduate assistant and video coordinator at Hofstra.\n\nIn 2004, Allen coached the wide receivers at Fort Scott Community College.\n\nThe next three years, 2005-2007, Allen was on Greg Schiano’s staff at Rutgers. In 05 and 06, Allen worked as a player development assistant, before moving into a graduate assistant role in 2007.\n\nFrom 2008 to 2013, Allen was in charge of the special teams for Rhode Island.\n\nFrom 2014 to 2017, Allen was the Special Teams Coordinator and tight ends coach. While there, he helped develop All-American tight end and Baltimore Ravens draft selection, Nick Boyle.\n\nIn February 2018, UConn Head Coach Randy Edsall announced Eddie Allen as his new special teams coordinator. He was paid $165,000 annually.\n\nPlaying career\n\nAllen played quarterback for the New Haven Chargers, an NCAA Division II school in West Haven, Connecticut. He was a four-year letterwinner for head coach and offensive coordinator, and former Miami Dolphins and Oakland Raiders head coach, Tony Sparano.\n\nPersonal life\n\nAllen and his wife, Kristin, have three children, daughter, Makayla, and sons Austin and Jackson.\n\nReferences\n\nLiving people\nAmerican football quarterbacks\nYear of birth missing (living people)"
] |
[
"Michelle Branch",
"2001-2005: The Spirit Room and Hotel Paper"
] |
C_937dd33b61d6421bbeed098e8cd05960_0
|
What is the Spirit Room?
| 1 |
What is the Spirit Room abum?
|
Michelle Branch
|
In 2001, Branch signed a recording deal with Maverick Records, where she began working with John Shanks to produce her first album and major-label debut. The album, The Spirit Room, was released in August 2001, producing the hit single "Everywhere". The single was a commercial success, winning the 2002 MTV Video Music Awards Viewer's Choice Award. "Everywhere" was later followed by singles "All You Wanted" and "Goodbye to You". In August 2001, she appeared on Total Request Live after "Everywhere" reached No. 4 on their charts. Due to the mainstream success of those released singles, The Spirit Room was certified Double Platinum by the RIAA for selling over two million copies in the United States. Michelle also sang in Hanson's 2004 album, Underneath in the song, "Deeper". VH1 released Branch's Pop-Up Video for her song "All You Wanted". Branch met Justincase before her debut on Maverick Records, becoming friends over the Internet before meeting in Las Vegas for a music convention in 2000. Justincase was signed to Maverick Records in late 2001 with the help of Branch. A self-titled album was released on October 29, 2002, and included several collaborations with Branch, including the lead single, "Don't Cry for Us". In 2002, Branch teamed up with Santana, alongside songwriters Gregg Alexander and Rick Nowels, to produce the song "The Game of Love", which went on to win a Grammy Award for Best Pop Collaboration with Vocals. She also earned a Grammy nomination in 2003 for Best New Artist, which was won by Norah Jones. Branch's second major label album, Hotel Paper, was released in 2003 and debuted at No. 2 on the Billboard 200 chart and has been certified Platinum by the RIAA for selling over one million copies. However, the album was met with mixed reviews. The lead single, "Are You Happy Now?", was a chart success, earning Branch a nomination for the Grammy Award for Best Female Rock Vocal Performance, though the song lost to Pink's "Trouble". The following singles, however, "Breathe" and "'Til I Get over You", did not match the first single's success. Branching out into television, she appeared in several shows, including Buffy the Vampire Slayer, American Dreams, and Charmed. In June 2004, she hosted MTV's "Faking the Video" alongside Nick Lachey and JC Chasez. She also appeared in the Rob Schneider film The Hot Chick. CANNOTANSWER
|
her first album and major-label debut. The album, The Spirit Room,
|
Michelle Jacquet DeSevren Branch (born July 2, 1983) is an American singer, songwriter, and actress. During the early 2000s, she released two top-selling albums: The Spirit Room and Hotel Paper. She won a Grammy Award for Best Pop Collaboration with Vocals with Santana for "The Game of Love".
In 2005, she formed the country music duo the Wreckers with Jessica Harp, and produced the Grammy-nominated single "Leave the Pieces". The Wreckers disbanded in 2007 to pursue their respective solo careers. Since then, she has released extended plays in 2010 and 2011, and a third solo album, Hopeless Romantic, on April 7, 2017.
Early life and education
Branch was born on July 2, 1983, in Sedona, Arizona, to David and Peggy Branch. Her father is Irish, and her mother is of Dutch-Indonesian ("Indo") and French descent. Her maternal grandmother was held in a Japanese internment camp during World War II. After the war she moved to the Netherlands, where Branch's mother was born. They moved to Arizona when her mother was five years old .
Her siblings include an older half-brother named David and a younger sister named Nicole.
Beginning to sing at the age of three, Branch enrolled in voice lessons at Northern Arizona University when she was eight, and received her first guitar for her 14th birthday. After teaching herself chords, she composed her first song "Fallen" within a week of receiving her guitar. She initially attended Sedona Red Rock High School, but finished the last two years of her high school education through home schooling so that she could focus on her music career.
Career
1983–2000: Broken Bracelet
To support Branch's interests, her parents helped her book local gigs in Sedona, and later financed her independent album Broken Bracelet. Her set list at these gigs included covers of songs by Sheryl Crow, Lisa Loeb, Jewel, and Fleetwood Mac.
In December 1999, she posted two of her songs on the Rolling Stone website, which caught the attention of both pop rock band Hanson and former Rolling Stone writer and Los Angeles record producer Jeff Rabhan, eventually leading to two gigs opening for Hanson in 2000.
In June 2000, Branch self-produced Broken Bracelet, a compilation of songs she wrote starting from when she was 14; the album was released on the independent record label Twin Dragon Records. Its title was inspired from a bracelet made by pop singer Jewel, given to Branch by musician Steve Poltz at a Lisa Loeb concert she attended. Poltz told Branch that "when it breaks, you'll be famous." The Broken Bracelet recordings were destroyed in the Nashville floods in May 2010.
2001–2005: The Spirit Room and Hotel Paper
In 2001, Branch signed a recording deal with Maverick Records, where she began working with John Shanks to produce her first album and major-label debut. The album, The Spirit Room, was released in August 2001, producing the hit single "Everywhere". The single was a commercial success, winning the 2002 MTV Video Music Awards Viewer's Choice Award. "Everywhere" was later followed by singles "All You Wanted" and "Goodbye to You". In August 2001, she appeared on Total Request Live after "Everywhere" reached No. 4 on the show's chart. Due to the mainstream success of those released singles, The Spirit Room was certified Double Platinum by the RIAA for selling over two million copies in the United States. Branch also sang on the song "Deeper" from Hanson's 2004 album Underneath. VH1 also released a Pop-Up Video for her song "All You Wanted".
Branch met Justincase before her debut on Maverick Records, becoming friends over the Internet before meeting in Las Vegas for a music convention in 2000. Justincase was signed to Maverick Records in late 2001 with the help of Branch. A self-titled album was released on October 29, 2002, and included several collaborations with Branch, including the lead single, "Don't Cry for Us".
In 2002, Branch teamed up with Santana, alongside songwriters Gregg Alexander and Rick Nowels, to produce the song "The Game of Love", which went on to win a Grammy Award for Best Pop Collaboration with Vocals. She also earned a Grammy nomination in 2003 for Best New Artist, which was won by Norah Jones.
Branch's second major label album, Hotel Paper, was released in 2003 and debuted at No. 2 on the Billboard 200 chart and has been certified Platinum by the RIAA for selling over one million copies. However, the album was met with mixed reviews. The lead single, "Are You Happy Now?", was a chart success, earning Branch a nomination for the Grammy Award for Best Female Rock Vocal Performance, though the song lost to Pink's "Trouble". The following singles, however, "Breathe" and "'Til I Get over You", did not match the first single's success. Branching out into television, she appeared in several shows, including Buffy the Vampire Slayer, American Dreams, and Charmed. In June 2004, she hosted MTV's "Faking the Video" alongside Nick Lachey and JC Chasez. She also appeared in the Rob Schneider film The Hot Chick.
2005–2007: The Wreckers
In July 2005, Branch began collaborating with her backup singer and longtime friend Jessica Harp. They were initially known as the Cass County Homewreckers" as a joke by Branch's husband, but they trimmed it down to the Wreckers. Their album attempted to combine their respective genres—pop rock and country. It was originally slated for release in June 2005 but was delayed because of reasons surrounding Branch's pregnancy. The duo's first single "Leave the Pieces" was released in February 2006, while their album Stand Still, Look Pretty was released in May.
During this period, they contributed to Santana's album All That I Am, with the song "I'm Feeling You", appearing on the American teen television drama One Tree Hill, and joined country music stars Rascal Flatts on a U.S. tour. They initially toured with Gavin DeGraw, Tyler Hilton and Bethany Joy Galeotti, which was also written into the show during the second season. The group was nominated for the 2006 CMA Awards Vocal Duo of the Year and for a Grammy Award for Best Country Performance by a Duo or Group with Vocal for the song "Leave the Pieces" in December 2006. Stand Still, Look Pretty was certified Gold by the RIAA with sales of 851,000 copies as of March 2009. The Wreckers split in 2007.
Branch sold her Calabasas, California home and moved to Nashville, Tennessee.
2008–2012: Unreleased albums
Immediately thereafter, Branch wrote an unreleased song for Mandy Moore's 2007 album Wild Hope, and also wrote "Together" for the soundtrack of The Sisterhood of the Traveling Pants 2; it was also featured as the final song ever played on the CBS TV soap opera, Guiding Light. In October 2007, she announced that she was working on a new solo album and later reported the title would be Everything Comes and Goes. In June 2008, she played several live shows in preparation for the album's release with her sister Nicole singing backing vocals.
In early 2009, she sang the song "I Lose My Heart" in a duet with Chris Isaak on his new album Mr. Lucky. A video for the first single from the album "Sooner Or Later" was released on July 28, 2009. Also in 2009, she recorded "A Case of You" (originally by Joni Mitchell) for the compilation Covered, A Revolution in Sound which commemorated Warner Bros. Records 50th anniversary. A video was made for the song "This Way" and uploaded to Branch's official YouTube account in October 2009, but it was not released as a single and did not chart. (The video was included on a limited edition DVD entitled The Video Anthology available on michellebranch.com.) Everything Comes and Goes was finally released as a six-track extended play on July 16, 2010, via Branch's website and would be available at all retailers one month later. In 2010, Branch and R&B/hip-hop producer Timbaland collaborated on a pop/R&B song entitled "Getaway" and released a video.
In December 2010, Branch announced her return to her pop/rock roots for her album, West Coast Time. In early 2011, Branch released three previously unreleased songs from Everything Comes and Goes including, "Texas In the Mirror", "Take a Chance on Me", and "Long Goodbye", the latter a duet with Dwight Yoakam. On March 22, 2011, in a video regarding updates on the third studio album uploaded via Branch's YouTube account, Branch confirmed that half the album is finished and added that "it's sounding really really good....it's all going well and it's all on time." On April 14, 2011, it was announced that Branch had finished recording the album, she also added that "only mixing/mastering left. Michelle practiced and recorded a few tracks with Tilted Head and FIVE lead singer Joshua Barton, however it is still a work in progress." On May 26, 2011, Branch hosted a live webchat with fans in which she previewed her new single "Loud Music", which was released to the iTunes Store on June 14, 2011. The song was co-written and produced by British writers Jim Irvin and Julian Emery who collaborated with Michelle on several songs on the album. In the webcast, Branch also mentioned songs on the album called "Mastermind" and "The Story Of Us" and also added that "Through The Radio" would be a hidden track on the CD. In a previous webcast, she premiered a song from the album called "Spark". During a live outdoor performance at the Warner Brothers building she performed another new song, dedicated to her then-husband Teddy Landau, "For Dear Life". In June 2011, she released the album's first single titled "Loud Music". It has charted on the Adult Pop Songs chart. On July 12, 2011, Branch performed "God Bless America" at the MLB All-Star Game, in Phoenix, Arizona. In September, a new song "Another Sun" was featured on Fox's TV series Terra Nova. On October 29, 2011, she gave a small concert to approximately 200 fans at the Egyptian Room in downtown Indianapolis, as part of the Gravedigger's Ball. On December 12, 2011, Branch released a song titled "If You Happen to Call" for free download on the official website.
In February 2012, VH1 hosted the "100 Greatest Women In Music" special and she was nominated in both the "Pop" category and the "Greatest Female Artist of All Time". On April 3, 2012, Branch performed "Leave the Pieces" with Kelly Clarkson in Los Angeles as part of Clarkson's Stronger Tour. On September 5, the singer premiered a new pop-rock track "Mastermind". In September 2012, Branch joined Chef Michael Mina as a co-host of Cook Taste Eat, an online cooking show that aims to teach viewers how to cook quality food at home.
As with her release, Everything Comes and Goes, West Coast Time has seen numerous delays for, as yet, unknown reasons. Branch has confirmed on her Twitter account that she knows as much as the fans do about this. In January 2011, Branch confirmed in an interview with Katie Krause from Hollywire.com that the album would be released later that year. On June 1, 2011, Branch announced that the album is called West Coast Time and slated for a September 2011 release date. On December 25, 2012, Branch confirmed that West Coast Time was scheduled for release in Spring 2013, but the album has not yet been released.
2013–present: New record deal and Hopeless Romantic
For much of 2013, Branch wrote songs and moved on from the unreleased West Coast Time. On November 5, 2013, Branch announced that she had started recording a new album in London with Martin Terefe. On February 2, 2014, she confirmed on Twitter that the rest of the album would be recorded in Nashville for a pop-rock sound. In October 2014, she recorded a cover of Radiohead's "Creep" which was subsequently used in an episode of Stalker.
On July 17, 2015, Branch announced that she had signed with Verve Records. In May 2016, she appeared on Full Frontal with Samantha Bee to sing "Goodbye Ted Cruz", a reworking of her song "Goodbye to You", as a tongue-in-cheek lament to the suspension of Ted Cruz's US presidential campaign.
In December 2016, Entertainment Weekly announced Branch's new album, Hopeless Romantic, which was released on April 7, 2017. Branch announced in September 2017, that she had parted ways with Verve Records.
Branch and Patrick Carney performed a cover of the song "A Horse with No Name" for the season 4 episode of BoJack Horseman titled "The Old Sugarman Place", where the title character drives through the desert. This version also appears on the soundtrack album of the series.
During a January 5, 2021 Livestream performance for Snapple, Branch confirmed that she would be re-recording her album The Spirit Room in March 2021 for release later in the year to celebrate the album's 20th anniversary.
Musical style and influence
Branch has stated that her music has been influenced by The Beatles, Led Zeppelin, Jimi Hendrix, Aerosmith, Lisa Loeb, Joni Mitchell, Queen, Alanis Morissette, Dolores O'Riordan, Jewel, Fleetwood Mac and Cat Stevens. She also likes classical music and older country music. Branch mainly uses a Gibson Hummingbird after retiring her blue Taylor 614ce.
Personal life
Branch married her bass player Teddy Landau (b. 1964) in Mexico on May 23, 2004, and gave birth to a girl in August 2005. Branch separated from Landau in 2014, and their divorce was finalized in November 2015.
In 2015, Branch met Patrick Carney of the Black Keys at a Grammy party, and the two started dating during the production of Hopeless Romantic. In 2017, Branch and her daughter moved into Carney's home in Nashville. Branch and Carney have a son, who was born in August 2018. The couple live in Nashville with their children and two Irish wolfhounds. Branch and Carney were married on April 20, 2019. In December 2020, she revealed she suffered a miscarriage. In August 2021, Branch announced she is pregnant.
Discography
Studio albums
The Spirit Room (2001)
Hotel Paper (2003)
Hopeless Romantic (2017)
EPs
Everything Comes and Goes (2010)
Filmography
Awards and nominations
Grammy Awards
The Grammy Awards are awarded annually by the National Academy of Recording Arts and Sciences. Branch has won one award from four nominations.
|-
|rowspan="2"|2003
||Michelle Branch
|Best New Artist
|
|-
|"The Game of Love" (with Santana)
||Best Pop Collaboration with Vocals
|
|-
||2004
|"Are You Happy Now?"
||Best Female Rock Vocal Performance
|
|-
||2007
|"Leave the Pieces"
||Best Country Performance by a Duo or Group with Vocal
|
MTV Video Music Awards
The MTV Video Music Awards were established in 1984 by MTV to celebrate the top music videos of the year. Branch received three nominations.
|-
|rowspan="3"|2002
|rowspan="2"|"All You Wanted"
|Best Female Video
|
|-
|Best Pop Video
|
|-
|"Everywhere"
|Viewer's Choice
|
Teen Choice Awards
The Teen Choice Awards is an annual awards show first aired in 1999 by Fox Broadcasting Company. Branch received four nominations.
|-
|rowspan="3"|2002
|Michelle Branch
|Choice Breakout Artist
|
|-
|rowspan="2"|"All You Wanted"
|Choice Love Song
|
|-
|Choice Summer Song
|
|-
|2003
|"The Game of Love"
|Choice Hook Up
|
Other awards
References
External links
1983 births
21st-century American actresses
21st-century American singers
21st-century American women singers
Actresses from Arizona
Actresses from Los Angeles
American child singers
American country singer-songwriters
American women country singers
American women guitarists
American women pop singers
American women rock singers
American film actresses
American multi-instrumentalists
American people of Dutch-Indonesian descent
American people of French descent
American people of Irish descent
American musicians of Indonesian descent
American pianists
American pop rock singers
American rock songwriters
American women pianists
Grammy Award winners
Guitarists from Arizona
Guitarists from Los Angeles
Indo people
Living people
Maverick Records artists
People from Sedona, Arizona
Singers from Los Angeles
The Wreckers members
Singer-songwriters from California
Singer-songwriters from Arizona
| true |
[
"Horror Story is a Bollywood dramatic horror film written by Vikram Bhatt and directed by Ayush Raina. The film stars Ravish Desai and Hasan Zaidi, and features the Bollywood movie debut of noted television actors Nishant malkani and Karan Kundra. The film was released on 13 September 2013. The plot revolves around a night spent by seven youngsters at a haunted hotel. The film received positive reviews but was declared \"Average\" at the box office. The film is based on the Stephen King short story 1408.\n\nPlot \n\nVikrant Nerula enters the deserted Grandiose Hotel alone. He proceeds to Room 3046 and commits suicide by jumping off the terrace.\n\nSeven friends, Sam (Samraat), Maghhesh, Achint, Neel, Nina, Sonia and Maggie, reunite in a local pub after several years to celebrate the farewell of Neel, who is going abroad. They learn about an abandoned hotel which had originally been a mental asylum for the criminally insane, but was almost completely destroyed in a fire, the ruins having been refurbished into a five-star hotel. Rumours state that the owner of the hotel was pushed into suicide by the ghost of an asylum inmate.\n\nThey try to enter the hotel through the main door, but as it is locked, they enter through the back-door instead. Nina observes strange phenomena, but Neel brushes her claims aside. They find a TV set on with no transmission or power. Followig this, Achint and Neel hear a voice saying, \"WELCOME TO DIE\". Ignoring it as a hallucination, they proceed to Room 3046, where Sam is killed. The group flees in panic and realises that they are trapped inside the hotel with no way out. Achint and Maghhesh go to the terrace to try and find a mobile signal, but Maghhesh is killed by a spirit.\n\nThe group is then terrorised by a woman's ghost, which drags Sonia into darkness. With three people dead, the remaining four find an abandoned jeep which they use to try to get out of the hotel, amidst ghostly apparitions. After a drive through misty areas, the group escape, only to find that they are back at the door of Room 3046. They realise that the only way to escape is to survive until dawn.\n\nHowever, they are soon confronted by Sonia, whom Achint and Neel think is the ghost, but a tearful Sonia tells them that it is really her. The group learns that when the hotel was a mental asylum, a possessed girl named Maya (Sheetal Singh) was admitted after she murdered her entire family. Maya would always claim to have 'married the devil', and would become very violent at the hospital, even killing the doctors and causing the fire that broke out and killed all the inmates. The group thus realises that it is Maya who is haunting them.\n\nSonia attempts to contact Maya to find out what she wants. She receives a call from Maya, who says that she wants to kill them all and nothing else. Afterwards, Sonia is killed by Maya's spirit. Nina asks the time from Neel, only to be told that it is the same time (3:55 AM) she had seen on the clock in one of the rooms shortly after entering the hotel. Believing it is some kind of intuition, they decide to go back to the same room to understand Nina's extrasensory perception.\n\nThere they find a book containing paranormal explanations and a way to locate the source of energy of the dark spirits. With the help of incantations from the book, they have visions of the past. They see that the hotel was a mental asylum and find that the source of energy of Maya's spirit is in a shock machine. They decide to burn it down to end the horror.\n\nNeel and Maggie go to kitchen in search of something flammable. Maggie sees a female spirit sitting on chair and reading newspaper. Afterwards, Maggie is killed by Maya's spirit who appears in the form of Neel. Achint is beheaded by the spirit, leaving only Neel and Nina alive.\n\nNeel tries to burn the machine, but is pulled by the spirit into a closet. The spirit starts terrorising Nina. Nina starts a fire. Amidst ghostly apparitions and obstructions, and with the help of the spirit of Vikrant Narula (the previous owner of the hotel), she manages to burn the machine. This results in the destruction of Maya's spirit. The film ends with the entrance doors of the hotel opening at dawn and a traumatized Nina, the only survivor, walking outside.\n\nCast\n\nKaran Kundra as Neel\nNishant Singh Malkani as Achint\nRavish Desai as Magesh\nHasan Zaidi as Samraat \"Sam\"\nAparna Bajpai as Maggie\nNandini Vaid as Sonia\nSheetal Singh as Maya\nBikramjeet Kanwarpal as Vikrant Narula\n\nProduction\nOf the film, Bhatt has stated that he did not want Horror Story to contain any songs or sex scenes. He also remarked that he wanted to avoid casting \"big stars\" in the film, as he believed that they \"cannot turn the audience fearful\" in what he termed a \"hardcore horror film\". Ravish Desai has commented that the movie will be the first in a franchise and that planning for further films has already begun.\n\nBhatt had earlier made films in the same genre, namely 1920, 1920: Evil Returns and Haunted. In an interview, he commented, \"While [my] Raaz 3 and 1920 were romantic sagas with songs and full-on drama, this one is more of a Hollywood kind of drama. The horror lies in the story.\"\n\nSee also\n List of Indian horror films\n\nReferences\n\nExternal links \n \n \n \n\n2010s horror drama films\n2010s Hindi-language films\nFilms set in hotels\nIndian films\nIndian horror drama films\n2013 films\nFilms based on short fiction\nFilms based on works by Stephen King\n2013 drama films",
"The Palace of Tęgoborze () is a classical, one-storeyed, marble mansion-house from the 18th century. It is in Tęgoborze – a village in southern Poland (Gmina Łososina Dolna), 11 km from Nowy Sącz. The first owner was Count Dunikowski. It's said that count's wife has been walled up alive there and her spirit, called the White Lady, is still appearing there. After Dunikowski's family's death, the owner was Count Wielogłowski, who was a spirit rapper. In this time, there were a lot of spiritualist sessions in the octagonal room in the palace.\n\nOn one session dated on 23 September 1893, spirits had said what would happen in the future. The words has become a sensation after being published in 1939 in the biggest Polish newspaper Ilustrowany Kurier Codzienny. The prediction called \"Przepowiednia Tęgoborska\" tells of a 2nd world war or a Polish pope.\n\nFor a long time the owner of the mansion house was the Cracovian company Telpod but since 1999 it has been a private property.\n\nReferences \n\nPałac klasycystyczny \n\"Szlak Międzykulturowy\", Oficjalny Portal: Powiatu Nowosądeckiego (official portal of Nowy Sacz county) \n\nPalaces in Poland\nNowy Sącz County"
] |
[
"Michelle Branch",
"2001-2005: The Spirit Room and Hotel Paper",
"What is the Spirit Room?",
"her first album and major-label debut. The album, The Spirit Room,"
] |
C_937dd33b61d6421bbeed098e8cd05960_0
|
What label was she under for that album?
| 2 |
What label was Michelle Branch under for the Spirit Room album?
|
Michelle Branch
|
In 2001, Branch signed a recording deal with Maverick Records, where she began working with John Shanks to produce her first album and major-label debut. The album, The Spirit Room, was released in August 2001, producing the hit single "Everywhere". The single was a commercial success, winning the 2002 MTV Video Music Awards Viewer's Choice Award. "Everywhere" was later followed by singles "All You Wanted" and "Goodbye to You". In August 2001, she appeared on Total Request Live after "Everywhere" reached No. 4 on their charts. Due to the mainstream success of those released singles, The Spirit Room was certified Double Platinum by the RIAA for selling over two million copies in the United States. Michelle also sang in Hanson's 2004 album, Underneath in the song, "Deeper". VH1 released Branch's Pop-Up Video for her song "All You Wanted". Branch met Justincase before her debut on Maverick Records, becoming friends over the Internet before meeting in Las Vegas for a music convention in 2000. Justincase was signed to Maverick Records in late 2001 with the help of Branch. A self-titled album was released on October 29, 2002, and included several collaborations with Branch, including the lead single, "Don't Cry for Us". In 2002, Branch teamed up with Santana, alongside songwriters Gregg Alexander and Rick Nowels, to produce the song "The Game of Love", which went on to win a Grammy Award for Best Pop Collaboration with Vocals. She also earned a Grammy nomination in 2003 for Best New Artist, which was won by Norah Jones. Branch's second major label album, Hotel Paper, was released in 2003 and debuted at No. 2 on the Billboard 200 chart and has been certified Platinum by the RIAA for selling over one million copies. However, the album was met with mixed reviews. The lead single, "Are You Happy Now?", was a chart success, earning Branch a nomination for the Grammy Award for Best Female Rock Vocal Performance, though the song lost to Pink's "Trouble". The following singles, however, "Breathe" and "'Til I Get over You", did not match the first single's success. Branching out into television, she appeared in several shows, including Buffy the Vampire Slayer, American Dreams, and Charmed. In June 2004, she hosted MTV's "Faking the Video" alongside Nick Lachey and JC Chasez. She also appeared in the Rob Schneider film The Hot Chick. CANNOTANSWER
|
Branch signed a recording deal with Maverick Records,
|
Michelle Jacquet DeSevren Branch (born July 2, 1983) is an American singer, songwriter, and actress. During the early 2000s, she released two top-selling albums: The Spirit Room and Hotel Paper. She won a Grammy Award for Best Pop Collaboration with Vocals with Santana for "The Game of Love".
In 2005, she formed the country music duo the Wreckers with Jessica Harp, and produced the Grammy-nominated single "Leave the Pieces". The Wreckers disbanded in 2007 to pursue their respective solo careers. Since then, she has released extended plays in 2010 and 2011, and a third solo album, Hopeless Romantic, on April 7, 2017.
Early life and education
Branch was born on July 2, 1983, in Sedona, Arizona, to David and Peggy Branch. Her father is Irish, and her mother is of Dutch-Indonesian ("Indo") and French descent. Her maternal grandmother was held in a Japanese internment camp during World War II. After the war she moved to the Netherlands, where Branch's mother was born. They moved to Arizona when her mother was five years old .
Her siblings include an older half-brother named David and a younger sister named Nicole.
Beginning to sing at the age of three, Branch enrolled in voice lessons at Northern Arizona University when she was eight, and received her first guitar for her 14th birthday. After teaching herself chords, she composed her first song "Fallen" within a week of receiving her guitar. She initially attended Sedona Red Rock High School, but finished the last two years of her high school education through home schooling so that she could focus on her music career.
Career
1983–2000: Broken Bracelet
To support Branch's interests, her parents helped her book local gigs in Sedona, and later financed her independent album Broken Bracelet. Her set list at these gigs included covers of songs by Sheryl Crow, Lisa Loeb, Jewel, and Fleetwood Mac.
In December 1999, she posted two of her songs on the Rolling Stone website, which caught the attention of both pop rock band Hanson and former Rolling Stone writer and Los Angeles record producer Jeff Rabhan, eventually leading to two gigs opening for Hanson in 2000.
In June 2000, Branch self-produced Broken Bracelet, a compilation of songs she wrote starting from when she was 14; the album was released on the independent record label Twin Dragon Records. Its title was inspired from a bracelet made by pop singer Jewel, given to Branch by musician Steve Poltz at a Lisa Loeb concert she attended. Poltz told Branch that "when it breaks, you'll be famous." The Broken Bracelet recordings were destroyed in the Nashville floods in May 2010.
2001–2005: The Spirit Room and Hotel Paper
In 2001, Branch signed a recording deal with Maverick Records, where she began working with John Shanks to produce her first album and major-label debut. The album, The Spirit Room, was released in August 2001, producing the hit single "Everywhere". The single was a commercial success, winning the 2002 MTV Video Music Awards Viewer's Choice Award. "Everywhere" was later followed by singles "All You Wanted" and "Goodbye to You". In August 2001, she appeared on Total Request Live after "Everywhere" reached No. 4 on the show's chart. Due to the mainstream success of those released singles, The Spirit Room was certified Double Platinum by the RIAA for selling over two million copies in the United States. Branch also sang on the song "Deeper" from Hanson's 2004 album Underneath. VH1 also released a Pop-Up Video for her song "All You Wanted".
Branch met Justincase before her debut on Maverick Records, becoming friends over the Internet before meeting in Las Vegas for a music convention in 2000. Justincase was signed to Maverick Records in late 2001 with the help of Branch. A self-titled album was released on October 29, 2002, and included several collaborations with Branch, including the lead single, "Don't Cry for Us".
In 2002, Branch teamed up with Santana, alongside songwriters Gregg Alexander and Rick Nowels, to produce the song "The Game of Love", which went on to win a Grammy Award for Best Pop Collaboration with Vocals. She also earned a Grammy nomination in 2003 for Best New Artist, which was won by Norah Jones.
Branch's second major label album, Hotel Paper, was released in 2003 and debuted at No. 2 on the Billboard 200 chart and has been certified Platinum by the RIAA for selling over one million copies. However, the album was met with mixed reviews. The lead single, "Are You Happy Now?", was a chart success, earning Branch a nomination for the Grammy Award for Best Female Rock Vocal Performance, though the song lost to Pink's "Trouble". The following singles, however, "Breathe" and "'Til I Get over You", did not match the first single's success. Branching out into television, she appeared in several shows, including Buffy the Vampire Slayer, American Dreams, and Charmed. In June 2004, she hosted MTV's "Faking the Video" alongside Nick Lachey and JC Chasez. She also appeared in the Rob Schneider film The Hot Chick.
2005–2007: The Wreckers
In July 2005, Branch began collaborating with her backup singer and longtime friend Jessica Harp. They were initially known as the Cass County Homewreckers" as a joke by Branch's husband, but they trimmed it down to the Wreckers. Their album attempted to combine their respective genres—pop rock and country. It was originally slated for release in June 2005 but was delayed because of reasons surrounding Branch's pregnancy. The duo's first single "Leave the Pieces" was released in February 2006, while their album Stand Still, Look Pretty was released in May.
During this period, they contributed to Santana's album All That I Am, with the song "I'm Feeling You", appearing on the American teen television drama One Tree Hill, and joined country music stars Rascal Flatts on a U.S. tour. They initially toured with Gavin DeGraw, Tyler Hilton and Bethany Joy Galeotti, which was also written into the show during the second season. The group was nominated for the 2006 CMA Awards Vocal Duo of the Year and for a Grammy Award for Best Country Performance by a Duo or Group with Vocal for the song "Leave the Pieces" in December 2006. Stand Still, Look Pretty was certified Gold by the RIAA with sales of 851,000 copies as of March 2009. The Wreckers split in 2007.
Branch sold her Calabasas, California home and moved to Nashville, Tennessee.
2008–2012: Unreleased albums
Immediately thereafter, Branch wrote an unreleased song for Mandy Moore's 2007 album Wild Hope, and also wrote "Together" for the soundtrack of The Sisterhood of the Traveling Pants 2; it was also featured as the final song ever played on the CBS TV soap opera, Guiding Light. In October 2007, she announced that she was working on a new solo album and later reported the title would be Everything Comes and Goes. In June 2008, she played several live shows in preparation for the album's release with her sister Nicole singing backing vocals.
In early 2009, she sang the song "I Lose My Heart" in a duet with Chris Isaak on his new album Mr. Lucky. A video for the first single from the album "Sooner Or Later" was released on July 28, 2009. Also in 2009, she recorded "A Case of You" (originally by Joni Mitchell) for the compilation Covered, A Revolution in Sound which commemorated Warner Bros. Records 50th anniversary. A video was made for the song "This Way" and uploaded to Branch's official YouTube account in October 2009, but it was not released as a single and did not chart. (The video was included on a limited edition DVD entitled The Video Anthology available on michellebranch.com.) Everything Comes and Goes was finally released as a six-track extended play on July 16, 2010, via Branch's website and would be available at all retailers one month later. In 2010, Branch and R&B/hip-hop producer Timbaland collaborated on a pop/R&B song entitled "Getaway" and released a video.
In December 2010, Branch announced her return to her pop/rock roots for her album, West Coast Time. In early 2011, Branch released three previously unreleased songs from Everything Comes and Goes including, "Texas In the Mirror", "Take a Chance on Me", and "Long Goodbye", the latter a duet with Dwight Yoakam. On March 22, 2011, in a video regarding updates on the third studio album uploaded via Branch's YouTube account, Branch confirmed that half the album is finished and added that "it's sounding really really good....it's all going well and it's all on time." On April 14, 2011, it was announced that Branch had finished recording the album, she also added that "only mixing/mastering left. Michelle practiced and recorded a few tracks with Tilted Head and FIVE lead singer Joshua Barton, however it is still a work in progress." On May 26, 2011, Branch hosted a live webchat with fans in which she previewed her new single "Loud Music", which was released to the iTunes Store on June 14, 2011. The song was co-written and produced by British writers Jim Irvin and Julian Emery who collaborated with Michelle on several songs on the album. In the webcast, Branch also mentioned songs on the album called "Mastermind" and "The Story Of Us" and also added that "Through The Radio" would be a hidden track on the CD. In a previous webcast, she premiered a song from the album called "Spark". During a live outdoor performance at the Warner Brothers building she performed another new song, dedicated to her then-husband Teddy Landau, "For Dear Life". In June 2011, she released the album's first single titled "Loud Music". It has charted on the Adult Pop Songs chart. On July 12, 2011, Branch performed "God Bless America" at the MLB All-Star Game, in Phoenix, Arizona. In September, a new song "Another Sun" was featured on Fox's TV series Terra Nova. On October 29, 2011, she gave a small concert to approximately 200 fans at the Egyptian Room in downtown Indianapolis, as part of the Gravedigger's Ball. On December 12, 2011, Branch released a song titled "If You Happen to Call" for free download on the official website.
In February 2012, VH1 hosted the "100 Greatest Women In Music" special and she was nominated in both the "Pop" category and the "Greatest Female Artist of All Time". On April 3, 2012, Branch performed "Leave the Pieces" with Kelly Clarkson in Los Angeles as part of Clarkson's Stronger Tour. On September 5, the singer premiered a new pop-rock track "Mastermind". In September 2012, Branch joined Chef Michael Mina as a co-host of Cook Taste Eat, an online cooking show that aims to teach viewers how to cook quality food at home.
As with her release, Everything Comes and Goes, West Coast Time has seen numerous delays for, as yet, unknown reasons. Branch has confirmed on her Twitter account that she knows as much as the fans do about this. In January 2011, Branch confirmed in an interview with Katie Krause from Hollywire.com that the album would be released later that year. On June 1, 2011, Branch announced that the album is called West Coast Time and slated for a September 2011 release date. On December 25, 2012, Branch confirmed that West Coast Time was scheduled for release in Spring 2013, but the album has not yet been released.
2013–present: New record deal and Hopeless Romantic
For much of 2013, Branch wrote songs and moved on from the unreleased West Coast Time. On November 5, 2013, Branch announced that she had started recording a new album in London with Martin Terefe. On February 2, 2014, she confirmed on Twitter that the rest of the album would be recorded in Nashville for a pop-rock sound. In October 2014, she recorded a cover of Radiohead's "Creep" which was subsequently used in an episode of Stalker.
On July 17, 2015, Branch announced that she had signed with Verve Records. In May 2016, she appeared on Full Frontal with Samantha Bee to sing "Goodbye Ted Cruz", a reworking of her song "Goodbye to You", as a tongue-in-cheek lament to the suspension of Ted Cruz's US presidential campaign.
In December 2016, Entertainment Weekly announced Branch's new album, Hopeless Romantic, which was released on April 7, 2017. Branch announced in September 2017, that she had parted ways with Verve Records.
Branch and Patrick Carney performed a cover of the song "A Horse with No Name" for the season 4 episode of BoJack Horseman titled "The Old Sugarman Place", where the title character drives through the desert. This version also appears on the soundtrack album of the series.
During a January 5, 2021 Livestream performance for Snapple, Branch confirmed that she would be re-recording her album The Spirit Room in March 2021 for release later in the year to celebrate the album's 20th anniversary.
Musical style and influence
Branch has stated that her music has been influenced by The Beatles, Led Zeppelin, Jimi Hendrix, Aerosmith, Lisa Loeb, Joni Mitchell, Queen, Alanis Morissette, Dolores O'Riordan, Jewel, Fleetwood Mac and Cat Stevens. She also likes classical music and older country music. Branch mainly uses a Gibson Hummingbird after retiring her blue Taylor 614ce.
Personal life
Branch married her bass player Teddy Landau (b. 1964) in Mexico on May 23, 2004, and gave birth to a girl in August 2005. Branch separated from Landau in 2014, and their divorce was finalized in November 2015.
In 2015, Branch met Patrick Carney of the Black Keys at a Grammy party, and the two started dating during the production of Hopeless Romantic. In 2017, Branch and her daughter moved into Carney's home in Nashville. Branch and Carney have a son, who was born in August 2018. The couple live in Nashville with their children and two Irish wolfhounds. Branch and Carney were married on April 20, 2019. In December 2020, she revealed she suffered a miscarriage. In August 2021, Branch announced she is pregnant.
Discography
Studio albums
The Spirit Room (2001)
Hotel Paper (2003)
Hopeless Romantic (2017)
EPs
Everything Comes and Goes (2010)
Filmography
Awards and nominations
Grammy Awards
The Grammy Awards are awarded annually by the National Academy of Recording Arts and Sciences. Branch has won one award from four nominations.
|-
|rowspan="2"|2003
||Michelle Branch
|Best New Artist
|
|-
|"The Game of Love" (with Santana)
||Best Pop Collaboration with Vocals
|
|-
||2004
|"Are You Happy Now?"
||Best Female Rock Vocal Performance
|
|-
||2007
|"Leave the Pieces"
||Best Country Performance by a Duo or Group with Vocal
|
MTV Video Music Awards
The MTV Video Music Awards were established in 1984 by MTV to celebrate the top music videos of the year. Branch received three nominations.
|-
|rowspan="3"|2002
|rowspan="2"|"All You Wanted"
|Best Female Video
|
|-
|Best Pop Video
|
|-
|"Everywhere"
|Viewer's Choice
|
Teen Choice Awards
The Teen Choice Awards is an annual awards show first aired in 1999 by Fox Broadcasting Company. Branch received four nominations.
|-
|rowspan="3"|2002
|Michelle Branch
|Choice Breakout Artist
|
|-
|rowspan="2"|"All You Wanted"
|Choice Love Song
|
|-
|Choice Summer Song
|
|-
|2003
|"The Game of Love"
|Choice Hook Up
|
Other awards
References
External links
1983 births
21st-century American actresses
21st-century American singers
21st-century American women singers
Actresses from Arizona
Actresses from Los Angeles
American child singers
American country singer-songwriters
American women country singers
American women guitarists
American women pop singers
American women rock singers
American film actresses
American multi-instrumentalists
American people of Dutch-Indonesian descent
American people of French descent
American people of Irish descent
American musicians of Indonesian descent
American pianists
American pop rock singers
American rock songwriters
American women pianists
Grammy Award winners
Guitarists from Arizona
Guitarists from Los Angeles
Indo people
Living people
Maverick Records artists
People from Sedona, Arizona
Singers from Los Angeles
The Wreckers members
Singer-songwriters from California
Singer-songwriters from Arizona
| true |
[
"\"That's What Friends Are For\" is a song written by Robert Shaw Parsons and Ed Penney. It was originally recorded by American country artist Barbara Mandrell. It was recorded and released as a single on ABC/Dot Records in 1976. It reached the top 20 of the American country songs chart and was later released on her 1976 studio offering This Is Barbara Mandrell.\n\nBackground and recording\nBarbara Mandrell had her first charting singles with Columbia Records, but after switching to ABC/Dot she developed a musical identity that brought greater success. She started working with producer Tom Collins, who crafted a Countrypolitan sound that helped her music reach larger audiences. One of the singles she cut during this period was 1976's \"That's What Friends Are For\", which was written by Robert Shaw Parsons and Ed Penney. Collins produced Mandrell's third ABC/Dot session in February 1976 in Nashville, Tennessee. On the same session, Mandrell cut two additional tracks, including the future single \"Love Is Thin Ice\".\n\nRelease and chart performance\n\"That's What Friends Are For\" was released as a single on ABC/Dot Records on April 12, 1976. It was backed on the B-side by the song \"The Beginning of the End\". The track was issued by the label as a seven inch vinyl single. The single spent 13 weeks on America's Billboard country songs chart, peaking at number 16 by August 1976. It was Mandrell's second single issued by the label. In Canada, the single climbed to the number 27 position on the RPM country chart. The song was released on Mandrell's first album for the label, which was titled This Is Barbara Mandrell. The album was released in 1976.\n\nTrack listing\n7\" vinyl single\n \"That's What Friends Are For\" – 2:39\n \"The Beginning of the End\" – 2:31\n\nCharts\n\nReferences\n\n1976 singles\n1976 songs\nABC Records singles\nDot Records singles\nBarbara Mandrell songs\nSong recordings produced by Tom Collins (record producer)",
"Rise is the debut studio album by American singer Samantha James under the label Om Records. \nThe title track from the album was released as a single, and reached No. 1 on the US Billboard Hot Dance Club Songs chart.\n\nBackground\nWhen James established her music style, she began writing songs for Rise together with Sebastian Arocha Morton. James and friend Dave Curtin discussed which label would be good for her music, and came up with Om Records. When they contacted the label and sent them a demo of her song \"Rise,\" she was signed on to a single deal. Shortly after that, they signed on \"Angel Love\" as well.\n\nAfter that, she was signed to do a full length album. James said in an interview that her biggest inspiration was her mother, who died when James was 13 years old. The album was a two year process.\n\nTrack listing\n\n1 Japanese bonus track.\n\nReferences \n\n2007 debut albums\nNu jazz albums\nSamantha James albums\nAlbums produced by Sebastian Arocha Morton"
] |
[
"Michelle Branch",
"2001-2005: The Spirit Room and Hotel Paper",
"What is the Spirit Room?",
"her first album and major-label debut. The album, The Spirit Room,",
"What label was she under for that album?",
"Branch signed a recording deal with Maverick Records,"
] |
C_937dd33b61d6421bbeed098e8cd05960_0
|
Did she win any awards for that album?
| 3 |
Did Michelle Branch win any awards for the Spirit Room album?
|
Michelle Branch
|
In 2001, Branch signed a recording deal with Maverick Records, where she began working with John Shanks to produce her first album and major-label debut. The album, The Spirit Room, was released in August 2001, producing the hit single "Everywhere". The single was a commercial success, winning the 2002 MTV Video Music Awards Viewer's Choice Award. "Everywhere" was later followed by singles "All You Wanted" and "Goodbye to You". In August 2001, she appeared on Total Request Live after "Everywhere" reached No. 4 on their charts. Due to the mainstream success of those released singles, The Spirit Room was certified Double Platinum by the RIAA for selling over two million copies in the United States. Michelle also sang in Hanson's 2004 album, Underneath in the song, "Deeper". VH1 released Branch's Pop-Up Video for her song "All You Wanted". Branch met Justincase before her debut on Maverick Records, becoming friends over the Internet before meeting in Las Vegas for a music convention in 2000. Justincase was signed to Maverick Records in late 2001 with the help of Branch. A self-titled album was released on October 29, 2002, and included several collaborations with Branch, including the lead single, "Don't Cry for Us". In 2002, Branch teamed up with Santana, alongside songwriters Gregg Alexander and Rick Nowels, to produce the song "The Game of Love", which went on to win a Grammy Award for Best Pop Collaboration with Vocals. She also earned a Grammy nomination in 2003 for Best New Artist, which was won by Norah Jones. Branch's second major label album, Hotel Paper, was released in 2003 and debuted at No. 2 on the Billboard 200 chart and has been certified Platinum by the RIAA for selling over one million copies. However, the album was met with mixed reviews. The lead single, "Are You Happy Now?", was a chart success, earning Branch a nomination for the Grammy Award for Best Female Rock Vocal Performance, though the song lost to Pink's "Trouble". The following singles, however, "Breathe" and "'Til I Get over You", did not match the first single's success. Branching out into television, she appeared in several shows, including Buffy the Vampire Slayer, American Dreams, and Charmed. In June 2004, she hosted MTV's "Faking the Video" alongside Nick Lachey and JC Chasez. She also appeared in the Rob Schneider film The Hot Chick. CANNOTANSWER
|
The single was a commercial success, winning the 2002 MTV Video Music Awards Viewer's Choice Award.
|
Michelle Jacquet DeSevren Branch (born July 2, 1983) is an American singer, songwriter, and actress. During the early 2000s, she released two top-selling albums: The Spirit Room and Hotel Paper. She won a Grammy Award for Best Pop Collaboration with Vocals with Santana for "The Game of Love".
In 2005, she formed the country music duo the Wreckers with Jessica Harp, and produced the Grammy-nominated single "Leave the Pieces". The Wreckers disbanded in 2007 to pursue their respective solo careers. Since then, she has released extended plays in 2010 and 2011, and a third solo album, Hopeless Romantic, on April 7, 2017.
Early life and education
Branch was born on July 2, 1983, in Sedona, Arizona, to David and Peggy Branch. Her father is Irish, and her mother is of Dutch-Indonesian ("Indo") and French descent. Her maternal grandmother was held in a Japanese internment camp during World War II. After the war she moved to the Netherlands, where Branch's mother was born. They moved to Arizona when her mother was five years old .
Her siblings include an older half-brother named David and a younger sister named Nicole.
Beginning to sing at the age of three, Branch enrolled in voice lessons at Northern Arizona University when she was eight, and received her first guitar for her 14th birthday. After teaching herself chords, she composed her first song "Fallen" within a week of receiving her guitar. She initially attended Sedona Red Rock High School, but finished the last two years of her high school education through home schooling so that she could focus on her music career.
Career
1983–2000: Broken Bracelet
To support Branch's interests, her parents helped her book local gigs in Sedona, and later financed her independent album Broken Bracelet. Her set list at these gigs included covers of songs by Sheryl Crow, Lisa Loeb, Jewel, and Fleetwood Mac.
In December 1999, she posted two of her songs on the Rolling Stone website, which caught the attention of both pop rock band Hanson and former Rolling Stone writer and Los Angeles record producer Jeff Rabhan, eventually leading to two gigs opening for Hanson in 2000.
In June 2000, Branch self-produced Broken Bracelet, a compilation of songs she wrote starting from when she was 14; the album was released on the independent record label Twin Dragon Records. Its title was inspired from a bracelet made by pop singer Jewel, given to Branch by musician Steve Poltz at a Lisa Loeb concert she attended. Poltz told Branch that "when it breaks, you'll be famous." The Broken Bracelet recordings were destroyed in the Nashville floods in May 2010.
2001–2005: The Spirit Room and Hotel Paper
In 2001, Branch signed a recording deal with Maverick Records, where she began working with John Shanks to produce her first album and major-label debut. The album, The Spirit Room, was released in August 2001, producing the hit single "Everywhere". The single was a commercial success, winning the 2002 MTV Video Music Awards Viewer's Choice Award. "Everywhere" was later followed by singles "All You Wanted" and "Goodbye to You". In August 2001, she appeared on Total Request Live after "Everywhere" reached No. 4 on the show's chart. Due to the mainstream success of those released singles, The Spirit Room was certified Double Platinum by the RIAA for selling over two million copies in the United States. Branch also sang on the song "Deeper" from Hanson's 2004 album Underneath. VH1 also released a Pop-Up Video for her song "All You Wanted".
Branch met Justincase before her debut on Maverick Records, becoming friends over the Internet before meeting in Las Vegas for a music convention in 2000. Justincase was signed to Maverick Records in late 2001 with the help of Branch. A self-titled album was released on October 29, 2002, and included several collaborations with Branch, including the lead single, "Don't Cry for Us".
In 2002, Branch teamed up with Santana, alongside songwriters Gregg Alexander and Rick Nowels, to produce the song "The Game of Love", which went on to win a Grammy Award for Best Pop Collaboration with Vocals. She also earned a Grammy nomination in 2003 for Best New Artist, which was won by Norah Jones.
Branch's second major label album, Hotel Paper, was released in 2003 and debuted at No. 2 on the Billboard 200 chart and has been certified Platinum by the RIAA for selling over one million copies. However, the album was met with mixed reviews. The lead single, "Are You Happy Now?", was a chart success, earning Branch a nomination for the Grammy Award for Best Female Rock Vocal Performance, though the song lost to Pink's "Trouble". The following singles, however, "Breathe" and "'Til I Get over You", did not match the first single's success. Branching out into television, she appeared in several shows, including Buffy the Vampire Slayer, American Dreams, and Charmed. In June 2004, she hosted MTV's "Faking the Video" alongside Nick Lachey and JC Chasez. She also appeared in the Rob Schneider film The Hot Chick.
2005–2007: The Wreckers
In July 2005, Branch began collaborating with her backup singer and longtime friend Jessica Harp. They were initially known as the Cass County Homewreckers" as a joke by Branch's husband, but they trimmed it down to the Wreckers. Their album attempted to combine their respective genres—pop rock and country. It was originally slated for release in June 2005 but was delayed because of reasons surrounding Branch's pregnancy. The duo's first single "Leave the Pieces" was released in February 2006, while their album Stand Still, Look Pretty was released in May.
During this period, they contributed to Santana's album All That I Am, with the song "I'm Feeling You", appearing on the American teen television drama One Tree Hill, and joined country music stars Rascal Flatts on a U.S. tour. They initially toured with Gavin DeGraw, Tyler Hilton and Bethany Joy Galeotti, which was also written into the show during the second season. The group was nominated for the 2006 CMA Awards Vocal Duo of the Year and for a Grammy Award for Best Country Performance by a Duo or Group with Vocal for the song "Leave the Pieces" in December 2006. Stand Still, Look Pretty was certified Gold by the RIAA with sales of 851,000 copies as of March 2009. The Wreckers split in 2007.
Branch sold her Calabasas, California home and moved to Nashville, Tennessee.
2008–2012: Unreleased albums
Immediately thereafter, Branch wrote an unreleased song for Mandy Moore's 2007 album Wild Hope, and also wrote "Together" for the soundtrack of The Sisterhood of the Traveling Pants 2; it was also featured as the final song ever played on the CBS TV soap opera, Guiding Light. In October 2007, she announced that she was working on a new solo album and later reported the title would be Everything Comes and Goes. In June 2008, she played several live shows in preparation for the album's release with her sister Nicole singing backing vocals.
In early 2009, she sang the song "I Lose My Heart" in a duet with Chris Isaak on his new album Mr. Lucky. A video for the first single from the album "Sooner Or Later" was released on July 28, 2009. Also in 2009, she recorded "A Case of You" (originally by Joni Mitchell) for the compilation Covered, A Revolution in Sound which commemorated Warner Bros. Records 50th anniversary. A video was made for the song "This Way" and uploaded to Branch's official YouTube account in October 2009, but it was not released as a single and did not chart. (The video was included on a limited edition DVD entitled The Video Anthology available on michellebranch.com.) Everything Comes and Goes was finally released as a six-track extended play on July 16, 2010, via Branch's website and would be available at all retailers one month later. In 2010, Branch and R&B/hip-hop producer Timbaland collaborated on a pop/R&B song entitled "Getaway" and released a video.
In December 2010, Branch announced her return to her pop/rock roots for her album, West Coast Time. In early 2011, Branch released three previously unreleased songs from Everything Comes and Goes including, "Texas In the Mirror", "Take a Chance on Me", and "Long Goodbye", the latter a duet with Dwight Yoakam. On March 22, 2011, in a video regarding updates on the third studio album uploaded via Branch's YouTube account, Branch confirmed that half the album is finished and added that "it's sounding really really good....it's all going well and it's all on time." On April 14, 2011, it was announced that Branch had finished recording the album, she also added that "only mixing/mastering left. Michelle practiced and recorded a few tracks with Tilted Head and FIVE lead singer Joshua Barton, however it is still a work in progress." On May 26, 2011, Branch hosted a live webchat with fans in which she previewed her new single "Loud Music", which was released to the iTunes Store on June 14, 2011. The song was co-written and produced by British writers Jim Irvin and Julian Emery who collaborated with Michelle on several songs on the album. In the webcast, Branch also mentioned songs on the album called "Mastermind" and "The Story Of Us" and also added that "Through The Radio" would be a hidden track on the CD. In a previous webcast, she premiered a song from the album called "Spark". During a live outdoor performance at the Warner Brothers building she performed another new song, dedicated to her then-husband Teddy Landau, "For Dear Life". In June 2011, she released the album's first single titled "Loud Music". It has charted on the Adult Pop Songs chart. On July 12, 2011, Branch performed "God Bless America" at the MLB All-Star Game, in Phoenix, Arizona. In September, a new song "Another Sun" was featured on Fox's TV series Terra Nova. On October 29, 2011, she gave a small concert to approximately 200 fans at the Egyptian Room in downtown Indianapolis, as part of the Gravedigger's Ball. On December 12, 2011, Branch released a song titled "If You Happen to Call" for free download on the official website.
In February 2012, VH1 hosted the "100 Greatest Women In Music" special and she was nominated in both the "Pop" category and the "Greatest Female Artist of All Time". On April 3, 2012, Branch performed "Leave the Pieces" with Kelly Clarkson in Los Angeles as part of Clarkson's Stronger Tour. On September 5, the singer premiered a new pop-rock track "Mastermind". In September 2012, Branch joined Chef Michael Mina as a co-host of Cook Taste Eat, an online cooking show that aims to teach viewers how to cook quality food at home.
As with her release, Everything Comes and Goes, West Coast Time has seen numerous delays for, as yet, unknown reasons. Branch has confirmed on her Twitter account that she knows as much as the fans do about this. In January 2011, Branch confirmed in an interview with Katie Krause from Hollywire.com that the album would be released later that year. On June 1, 2011, Branch announced that the album is called West Coast Time and slated for a September 2011 release date. On December 25, 2012, Branch confirmed that West Coast Time was scheduled for release in Spring 2013, but the album has not yet been released.
2013–present: New record deal and Hopeless Romantic
For much of 2013, Branch wrote songs and moved on from the unreleased West Coast Time. On November 5, 2013, Branch announced that she had started recording a new album in London with Martin Terefe. On February 2, 2014, she confirmed on Twitter that the rest of the album would be recorded in Nashville for a pop-rock sound. In October 2014, she recorded a cover of Radiohead's "Creep" which was subsequently used in an episode of Stalker.
On July 17, 2015, Branch announced that she had signed with Verve Records. In May 2016, she appeared on Full Frontal with Samantha Bee to sing "Goodbye Ted Cruz", a reworking of her song "Goodbye to You", as a tongue-in-cheek lament to the suspension of Ted Cruz's US presidential campaign.
In December 2016, Entertainment Weekly announced Branch's new album, Hopeless Romantic, which was released on April 7, 2017. Branch announced in September 2017, that she had parted ways with Verve Records.
Branch and Patrick Carney performed a cover of the song "A Horse with No Name" for the season 4 episode of BoJack Horseman titled "The Old Sugarman Place", where the title character drives through the desert. This version also appears on the soundtrack album of the series.
During a January 5, 2021 Livestream performance for Snapple, Branch confirmed that she would be re-recording her album The Spirit Room in March 2021 for release later in the year to celebrate the album's 20th anniversary.
Musical style and influence
Branch has stated that her music has been influenced by The Beatles, Led Zeppelin, Jimi Hendrix, Aerosmith, Lisa Loeb, Joni Mitchell, Queen, Alanis Morissette, Dolores O'Riordan, Jewel, Fleetwood Mac and Cat Stevens. She also likes classical music and older country music. Branch mainly uses a Gibson Hummingbird after retiring her blue Taylor 614ce.
Personal life
Branch married her bass player Teddy Landau (b. 1964) in Mexico on May 23, 2004, and gave birth to a girl in August 2005. Branch separated from Landau in 2014, and their divorce was finalized in November 2015.
In 2015, Branch met Patrick Carney of the Black Keys at a Grammy party, and the two started dating during the production of Hopeless Romantic. In 2017, Branch and her daughter moved into Carney's home in Nashville. Branch and Carney have a son, who was born in August 2018. The couple live in Nashville with their children and two Irish wolfhounds. Branch and Carney were married on April 20, 2019. In December 2020, she revealed she suffered a miscarriage. In August 2021, Branch announced she is pregnant.
Discography
Studio albums
The Spirit Room (2001)
Hotel Paper (2003)
Hopeless Romantic (2017)
EPs
Everything Comes and Goes (2010)
Filmography
Awards and nominations
Grammy Awards
The Grammy Awards are awarded annually by the National Academy of Recording Arts and Sciences. Branch has won one award from four nominations.
|-
|rowspan="2"|2003
||Michelle Branch
|Best New Artist
|
|-
|"The Game of Love" (with Santana)
||Best Pop Collaboration with Vocals
|
|-
||2004
|"Are You Happy Now?"
||Best Female Rock Vocal Performance
|
|-
||2007
|"Leave the Pieces"
||Best Country Performance by a Duo or Group with Vocal
|
MTV Video Music Awards
The MTV Video Music Awards were established in 1984 by MTV to celebrate the top music videos of the year. Branch received three nominations.
|-
|rowspan="3"|2002
|rowspan="2"|"All You Wanted"
|Best Female Video
|
|-
|Best Pop Video
|
|-
|"Everywhere"
|Viewer's Choice
|
Teen Choice Awards
The Teen Choice Awards is an annual awards show first aired in 1999 by Fox Broadcasting Company. Branch received four nominations.
|-
|rowspan="3"|2002
|Michelle Branch
|Choice Breakout Artist
|
|-
|rowspan="2"|"All You Wanted"
|Choice Love Song
|
|-
|Choice Summer Song
|
|-
|2003
|"The Game of Love"
|Choice Hook Up
|
Other awards
References
External links
1983 births
21st-century American actresses
21st-century American singers
21st-century American women singers
Actresses from Arizona
Actresses from Los Angeles
American child singers
American country singer-songwriters
American women country singers
American women guitarists
American women pop singers
American women rock singers
American film actresses
American multi-instrumentalists
American people of Dutch-Indonesian descent
American people of French descent
American people of Irish descent
American musicians of Indonesian descent
American pianists
American pop rock singers
American rock songwriters
American women pianists
Grammy Award winners
Guitarists from Arizona
Guitarists from Los Angeles
Indo people
Living people
Maverick Records artists
People from Sedona, Arizona
Singers from Los Angeles
The Wreckers members
Singer-songwriters from California
Singer-songwriters from Arizona
| true |
[
"American singer and actress Ariana Grande has won more than 186 awards throughout her career. Her debut album Yours Truly was released in 2013 and debuted at No. 1 on the US Billboard 200 chart. The album spawned three singles \"The Way\", \"Baby I\" and \"Right There\", all which reached the Hot 100. That same year, she won New Artist of the Year at the American Music Awards. She played a titular role in the teen sitcom Sam & Cat (2013–14), for which she won a Favorite TV Actress award at the Nickelodeon Kids' Choice Awards.\n\nIn 2014, Grande released her second studio album, My Everything, preceded by its lead single \"Problem\". At the 31st annual MTV Video Music Awards, \"Problem\" won the Best Pop Video award, and garnered three nominations, including Best Female Video. The single also won Best Song at the 2014 MTV Europe Music Awards. She won the Favorite Breakout Artist award at the 40th ceremony of the People's Choice Awards. At the 2014 Young Hollywood Awards, Grande earned three nominations, including Hottest Music Artist. At the 57th Annual Grammy Awards, Grande was nominated for two awards. In 2015, she won another American Music Award for Favorite Pop/Rock Female Artist and an iHeartRadio Music Award for Best Collaboration for \"Bang Bang\". She has won a total of ten Teen Choice Awards and six Radio Disney Music Awards.\n\nIn 2016, Grande released her third studio album, Dangerous Woman. She was nominated for five awards at the 2016 MTV Video Music Awards, which included Best Pop Video and Best Female Video for her second single \"Into You\". She won the American Music Award for Artist of the Year. At the 59th Annual Grammy Awards, Grande was nominated for two more awards, for Best Pop Solo Performance for her single \"Dangerous Woman\" as well as Best Pop Vocal Album, her second nomination in that category. In 2017, she was nominated for Artist of the Year at the 2017 MTV Video Music Awards.\n\nIn 2018, Grande released her fourth studio album, Sweetener, releasing lead single \"No Tears Left to Cry\". Grande was nominated for five awards at the 2018 MTV Video Music Awards, including Artist of the Year and Video of the Year for \"No Tears Left to Cry\", but ultimately won Best Pop Video for the latter song. In December 2018, Grande was named Billboards Woman of the Year. In 2019, Grande released her fifth studio album, Thank U, Next, which includes the lead single \"Thank U, Next\". Grande was nominated for two awards at the 61st Annual Grammy Awards, winning her first award for Best Pop Vocal Album for Sweetener. She was also nominated for Best Pop Solo Performance for Sweeteners second single, \"God is a Woman\". Grande also won the award for International Female Solo Artist at the 2019 Brit Awards. Grande was nominated for nine awards at the 2019 Billboard Music Awards, including Top Artist; she won two awards, for Billboard Chart Achievement and Top Female Artist. Grande was also nominated for 12 awards at the 2019 MTV Video Music Awards, including Video of the Year for \"Thank U, Next\". She won three awards, including Artist of the Year. Grande was also nominated for five Grammy awards at the 62nd Annual Grammy Awards, including Album of the Year and Best Pop Vocal Album for Thank U, Next and Record of the Year for \"7 Rings\". \n\nGrande was nominated for nine VMAs at the 2020 MTV Video Music Awards, including Video of the Year for \"Rain on Me\" with Lady Gaga. Grande would go on to win a Grammy Award at the 63rd Annual Grammy Awards for Best Pop Duo/Group Performance for \"Rain on Me\" with Lady Gaga, marking it the first female-collaboration to win the award. As of 2021, Grande has broken 27 Guinness World Records. At the 64th Annual Grammy Awards, Grande was nominated for three awards, for Best Pop Vocal Album for her sixth studio album, Positions, which became her fifth consecutive nomination in this category, tied for the most by any artist, and Best Pop Solo Performance for the single, \"Positions\", where she also tied for the most nominations in this category with four total. Furthermore, for her work on Doja Cat's third studio album, Planet Her, as a collaborator and songwriter on the track, \"I Don't Do Drugs\", she was nominated for Album of the Year for the second time. In 2021, Grande appeared in the film Don't Look Up, directed and written by Adam McKay, playing the character Riley Bina. For her role in the film, as well as for her contributions to the film's song, \"Just Look Up\", written and performed by Grande, she has received numerous nominations, including a Critics Choice Award and a Screen Actors Guild Award.\n\nAwards and nominations\n\nOther accolades\n\nWorld records\n\nState honors\n\nSee also\n\nNotes\n\nReferences\n\nAwards\nGrande, Ariana",
"Annette Bjergfeldt is a Danish songwriter, singer and author. She served on Statens Kunstfonds committee for scholarships during Musik 2014/15, appointed by the Danish Ministry of Culture. She has received the P4 Prisen and DJBFA's Hædersprisen awards from Danmarks Radio and has been nominated for 2 Grammys and 13 Danish Music Awards for her albums Red Letter Days (1995) with the band Harvest Moon, All That We Are (2001), Songs For Modern Mammals (2003), The Kissing Post, (2004), Man Må godt Ta´ To Gange, (2008) og Et Helt Nyt År, (2013). The album Songs For Modern Mammals was nominated for the award \"Årets danske folk-album\" (Danish folk-album of the year) at the Danish Music Awards in 2004. Bjergfeldt received four nomination at the same prize-show although she did not win any. She also co-wrote songs for international artists such as American guitar-icon Jerry Douglas (from Alison Krauss), Eddi Reader (from Fairground Attraction) and Teiturs classic \"Josephine\" along with the theme-music for Ordet Fanger.\n\nBjergfeldt has toured for four years across the United States visiting festivals, clubs and radio stations. She was one of the first Danish songwriters who decided publish on her own record label. In the 2010s Bjergfeldt worked as a musical theme writer for movies such as Bagland and the Internationale Choir Vocalline. Since 2000 Bjergfeldt has also trained other songwriters across the country, among them students from the Rhythmic Music Conservatory and Danmarks Radio's KarriereKanonen. She has trained songwriters in Greenland and Sweden and trained singing for prisoners of Vridsløselille Statsfængsel.\n\nAuthor \nAnnette Bjergfeldt has written the cook book Kogebog For Sangskrivere - Grovhakket Inspiration (Wilhelm Hansen 2005) and 3 children's books about the optimistic girl \"Børste\" (Alvilda 2010, 2011 & 2013).\n\nReferences\n\nExternal links \n \n\nSingers from Aarhus\nDanish songwriters\n21st-century Danish women singers\nLiving people\nYear of birth missing (living people)"
] |
[
"Michelle Branch",
"2001-2005: The Spirit Room and Hotel Paper",
"What is the Spirit Room?",
"her first album and major-label debut. The album, The Spirit Room,",
"What label was she under for that album?",
"Branch signed a recording deal with Maverick Records,",
"Did she win any awards for that album?",
"The single was a commercial success, winning the 2002 MTV Video Music Awards Viewer's Choice Award."
] |
C_937dd33b61d6421bbeed098e8cd05960_0
|
Did she release any follow up albums?
| 4 |
Did Michelle Branch release any follow up albums?
|
Michelle Branch
|
In 2001, Branch signed a recording deal with Maverick Records, where she began working with John Shanks to produce her first album and major-label debut. The album, The Spirit Room, was released in August 2001, producing the hit single "Everywhere". The single was a commercial success, winning the 2002 MTV Video Music Awards Viewer's Choice Award. "Everywhere" was later followed by singles "All You Wanted" and "Goodbye to You". In August 2001, she appeared on Total Request Live after "Everywhere" reached No. 4 on their charts. Due to the mainstream success of those released singles, The Spirit Room was certified Double Platinum by the RIAA for selling over two million copies in the United States. Michelle also sang in Hanson's 2004 album, Underneath in the song, "Deeper". VH1 released Branch's Pop-Up Video for her song "All You Wanted". Branch met Justincase before her debut on Maverick Records, becoming friends over the Internet before meeting in Las Vegas for a music convention in 2000. Justincase was signed to Maverick Records in late 2001 with the help of Branch. A self-titled album was released on October 29, 2002, and included several collaborations with Branch, including the lead single, "Don't Cry for Us". In 2002, Branch teamed up with Santana, alongside songwriters Gregg Alexander and Rick Nowels, to produce the song "The Game of Love", which went on to win a Grammy Award for Best Pop Collaboration with Vocals. She also earned a Grammy nomination in 2003 for Best New Artist, which was won by Norah Jones. Branch's second major label album, Hotel Paper, was released in 2003 and debuted at No. 2 on the Billboard 200 chart and has been certified Platinum by the RIAA for selling over one million copies. However, the album was met with mixed reviews. The lead single, "Are You Happy Now?", was a chart success, earning Branch a nomination for the Grammy Award for Best Female Rock Vocal Performance, though the song lost to Pink's "Trouble". The following singles, however, "Breathe" and "'Til I Get over You", did not match the first single's success. Branching out into television, she appeared in several shows, including Buffy the Vampire Slayer, American Dreams, and Charmed. In June 2004, she hosted MTV's "Faking the Video" alongside Nick Lachey and JC Chasez. She also appeared in the Rob Schneider film The Hot Chick. CANNOTANSWER
|
Branch's second major label album, Hotel Paper, was released in 2003
|
Michelle Jacquet DeSevren Branch (born July 2, 1983) is an American singer, songwriter, and actress. During the early 2000s, she released two top-selling albums: The Spirit Room and Hotel Paper. She won a Grammy Award for Best Pop Collaboration with Vocals with Santana for "The Game of Love".
In 2005, she formed the country music duo the Wreckers with Jessica Harp, and produced the Grammy-nominated single "Leave the Pieces". The Wreckers disbanded in 2007 to pursue their respective solo careers. Since then, she has released extended plays in 2010 and 2011, and a third solo album, Hopeless Romantic, on April 7, 2017.
Early life and education
Branch was born on July 2, 1983, in Sedona, Arizona, to David and Peggy Branch. Her father is Irish, and her mother is of Dutch-Indonesian ("Indo") and French descent. Her maternal grandmother was held in a Japanese internment camp during World War II. After the war she moved to the Netherlands, where Branch's mother was born. They moved to Arizona when her mother was five years old .
Her siblings include an older half-brother named David and a younger sister named Nicole.
Beginning to sing at the age of three, Branch enrolled in voice lessons at Northern Arizona University when she was eight, and received her first guitar for her 14th birthday. After teaching herself chords, she composed her first song "Fallen" within a week of receiving her guitar. She initially attended Sedona Red Rock High School, but finished the last two years of her high school education through home schooling so that she could focus on her music career.
Career
1983–2000: Broken Bracelet
To support Branch's interests, her parents helped her book local gigs in Sedona, and later financed her independent album Broken Bracelet. Her set list at these gigs included covers of songs by Sheryl Crow, Lisa Loeb, Jewel, and Fleetwood Mac.
In December 1999, she posted two of her songs on the Rolling Stone website, which caught the attention of both pop rock band Hanson and former Rolling Stone writer and Los Angeles record producer Jeff Rabhan, eventually leading to two gigs opening for Hanson in 2000.
In June 2000, Branch self-produced Broken Bracelet, a compilation of songs she wrote starting from when she was 14; the album was released on the independent record label Twin Dragon Records. Its title was inspired from a bracelet made by pop singer Jewel, given to Branch by musician Steve Poltz at a Lisa Loeb concert she attended. Poltz told Branch that "when it breaks, you'll be famous." The Broken Bracelet recordings were destroyed in the Nashville floods in May 2010.
2001–2005: The Spirit Room and Hotel Paper
In 2001, Branch signed a recording deal with Maverick Records, where she began working with John Shanks to produce her first album and major-label debut. The album, The Spirit Room, was released in August 2001, producing the hit single "Everywhere". The single was a commercial success, winning the 2002 MTV Video Music Awards Viewer's Choice Award. "Everywhere" was later followed by singles "All You Wanted" and "Goodbye to You". In August 2001, she appeared on Total Request Live after "Everywhere" reached No. 4 on the show's chart. Due to the mainstream success of those released singles, The Spirit Room was certified Double Platinum by the RIAA for selling over two million copies in the United States. Branch also sang on the song "Deeper" from Hanson's 2004 album Underneath. VH1 also released a Pop-Up Video for her song "All You Wanted".
Branch met Justincase before her debut on Maverick Records, becoming friends over the Internet before meeting in Las Vegas for a music convention in 2000. Justincase was signed to Maverick Records in late 2001 with the help of Branch. A self-titled album was released on October 29, 2002, and included several collaborations with Branch, including the lead single, "Don't Cry for Us".
In 2002, Branch teamed up with Santana, alongside songwriters Gregg Alexander and Rick Nowels, to produce the song "The Game of Love", which went on to win a Grammy Award for Best Pop Collaboration with Vocals. She also earned a Grammy nomination in 2003 for Best New Artist, which was won by Norah Jones.
Branch's second major label album, Hotel Paper, was released in 2003 and debuted at No. 2 on the Billboard 200 chart and has been certified Platinum by the RIAA for selling over one million copies. However, the album was met with mixed reviews. The lead single, "Are You Happy Now?", was a chart success, earning Branch a nomination for the Grammy Award for Best Female Rock Vocal Performance, though the song lost to Pink's "Trouble". The following singles, however, "Breathe" and "'Til I Get over You", did not match the first single's success. Branching out into television, she appeared in several shows, including Buffy the Vampire Slayer, American Dreams, and Charmed. In June 2004, she hosted MTV's "Faking the Video" alongside Nick Lachey and JC Chasez. She also appeared in the Rob Schneider film The Hot Chick.
2005–2007: The Wreckers
In July 2005, Branch began collaborating with her backup singer and longtime friend Jessica Harp. They were initially known as the Cass County Homewreckers" as a joke by Branch's husband, but they trimmed it down to the Wreckers. Their album attempted to combine their respective genres—pop rock and country. It was originally slated for release in June 2005 but was delayed because of reasons surrounding Branch's pregnancy. The duo's first single "Leave the Pieces" was released in February 2006, while their album Stand Still, Look Pretty was released in May.
During this period, they contributed to Santana's album All That I Am, with the song "I'm Feeling You", appearing on the American teen television drama One Tree Hill, and joined country music stars Rascal Flatts on a U.S. tour. They initially toured with Gavin DeGraw, Tyler Hilton and Bethany Joy Galeotti, which was also written into the show during the second season. The group was nominated for the 2006 CMA Awards Vocal Duo of the Year and for a Grammy Award for Best Country Performance by a Duo or Group with Vocal for the song "Leave the Pieces" in December 2006. Stand Still, Look Pretty was certified Gold by the RIAA with sales of 851,000 copies as of March 2009. The Wreckers split in 2007.
Branch sold her Calabasas, California home and moved to Nashville, Tennessee.
2008–2012: Unreleased albums
Immediately thereafter, Branch wrote an unreleased song for Mandy Moore's 2007 album Wild Hope, and also wrote "Together" for the soundtrack of The Sisterhood of the Traveling Pants 2; it was also featured as the final song ever played on the CBS TV soap opera, Guiding Light. In October 2007, she announced that she was working on a new solo album and later reported the title would be Everything Comes and Goes. In June 2008, she played several live shows in preparation for the album's release with her sister Nicole singing backing vocals.
In early 2009, she sang the song "I Lose My Heart" in a duet with Chris Isaak on his new album Mr. Lucky. A video for the first single from the album "Sooner Or Later" was released on July 28, 2009. Also in 2009, she recorded "A Case of You" (originally by Joni Mitchell) for the compilation Covered, A Revolution in Sound which commemorated Warner Bros. Records 50th anniversary. A video was made for the song "This Way" and uploaded to Branch's official YouTube account in October 2009, but it was not released as a single and did not chart. (The video was included on a limited edition DVD entitled The Video Anthology available on michellebranch.com.) Everything Comes and Goes was finally released as a six-track extended play on July 16, 2010, via Branch's website and would be available at all retailers one month later. In 2010, Branch and R&B/hip-hop producer Timbaland collaborated on a pop/R&B song entitled "Getaway" and released a video.
In December 2010, Branch announced her return to her pop/rock roots for her album, West Coast Time. In early 2011, Branch released three previously unreleased songs from Everything Comes and Goes including, "Texas In the Mirror", "Take a Chance on Me", and "Long Goodbye", the latter a duet with Dwight Yoakam. On March 22, 2011, in a video regarding updates on the third studio album uploaded via Branch's YouTube account, Branch confirmed that half the album is finished and added that "it's sounding really really good....it's all going well and it's all on time." On April 14, 2011, it was announced that Branch had finished recording the album, she also added that "only mixing/mastering left. Michelle practiced and recorded a few tracks with Tilted Head and FIVE lead singer Joshua Barton, however it is still a work in progress." On May 26, 2011, Branch hosted a live webchat with fans in which she previewed her new single "Loud Music", which was released to the iTunes Store on June 14, 2011. The song was co-written and produced by British writers Jim Irvin and Julian Emery who collaborated with Michelle on several songs on the album. In the webcast, Branch also mentioned songs on the album called "Mastermind" and "The Story Of Us" and also added that "Through The Radio" would be a hidden track on the CD. In a previous webcast, she premiered a song from the album called "Spark". During a live outdoor performance at the Warner Brothers building she performed another new song, dedicated to her then-husband Teddy Landau, "For Dear Life". In June 2011, she released the album's first single titled "Loud Music". It has charted on the Adult Pop Songs chart. On July 12, 2011, Branch performed "God Bless America" at the MLB All-Star Game, in Phoenix, Arizona. In September, a new song "Another Sun" was featured on Fox's TV series Terra Nova. On October 29, 2011, she gave a small concert to approximately 200 fans at the Egyptian Room in downtown Indianapolis, as part of the Gravedigger's Ball. On December 12, 2011, Branch released a song titled "If You Happen to Call" for free download on the official website.
In February 2012, VH1 hosted the "100 Greatest Women In Music" special and she was nominated in both the "Pop" category and the "Greatest Female Artist of All Time". On April 3, 2012, Branch performed "Leave the Pieces" with Kelly Clarkson in Los Angeles as part of Clarkson's Stronger Tour. On September 5, the singer premiered a new pop-rock track "Mastermind". In September 2012, Branch joined Chef Michael Mina as a co-host of Cook Taste Eat, an online cooking show that aims to teach viewers how to cook quality food at home.
As with her release, Everything Comes and Goes, West Coast Time has seen numerous delays for, as yet, unknown reasons. Branch has confirmed on her Twitter account that she knows as much as the fans do about this. In January 2011, Branch confirmed in an interview with Katie Krause from Hollywire.com that the album would be released later that year. On June 1, 2011, Branch announced that the album is called West Coast Time and slated for a September 2011 release date. On December 25, 2012, Branch confirmed that West Coast Time was scheduled for release in Spring 2013, but the album has not yet been released.
2013–present: New record deal and Hopeless Romantic
For much of 2013, Branch wrote songs and moved on from the unreleased West Coast Time. On November 5, 2013, Branch announced that she had started recording a new album in London with Martin Terefe. On February 2, 2014, she confirmed on Twitter that the rest of the album would be recorded in Nashville for a pop-rock sound. In October 2014, she recorded a cover of Radiohead's "Creep" which was subsequently used in an episode of Stalker.
On July 17, 2015, Branch announced that she had signed with Verve Records. In May 2016, she appeared on Full Frontal with Samantha Bee to sing "Goodbye Ted Cruz", a reworking of her song "Goodbye to You", as a tongue-in-cheek lament to the suspension of Ted Cruz's US presidential campaign.
In December 2016, Entertainment Weekly announced Branch's new album, Hopeless Romantic, which was released on April 7, 2017. Branch announced in September 2017, that she had parted ways with Verve Records.
Branch and Patrick Carney performed a cover of the song "A Horse with No Name" for the season 4 episode of BoJack Horseman titled "The Old Sugarman Place", where the title character drives through the desert. This version also appears on the soundtrack album of the series.
During a January 5, 2021 Livestream performance for Snapple, Branch confirmed that she would be re-recording her album The Spirit Room in March 2021 for release later in the year to celebrate the album's 20th anniversary.
Musical style and influence
Branch has stated that her music has been influenced by The Beatles, Led Zeppelin, Jimi Hendrix, Aerosmith, Lisa Loeb, Joni Mitchell, Queen, Alanis Morissette, Dolores O'Riordan, Jewel, Fleetwood Mac and Cat Stevens. She also likes classical music and older country music. Branch mainly uses a Gibson Hummingbird after retiring her blue Taylor 614ce.
Personal life
Branch married her bass player Teddy Landau (b. 1964) in Mexico on May 23, 2004, and gave birth to a girl in August 2005. Branch separated from Landau in 2014, and their divorce was finalized in November 2015.
In 2015, Branch met Patrick Carney of the Black Keys at a Grammy party, and the two started dating during the production of Hopeless Romantic. In 2017, Branch and her daughter moved into Carney's home in Nashville. Branch and Carney have a son, who was born in August 2018. The couple live in Nashville with their children and two Irish wolfhounds. Branch and Carney were married on April 20, 2019. In December 2020, she revealed she suffered a miscarriage. In August 2021, Branch announced she is pregnant.
Discography
Studio albums
The Spirit Room (2001)
Hotel Paper (2003)
Hopeless Romantic (2017)
EPs
Everything Comes and Goes (2010)
Filmography
Awards and nominations
Grammy Awards
The Grammy Awards are awarded annually by the National Academy of Recording Arts and Sciences. Branch has won one award from four nominations.
|-
|rowspan="2"|2003
||Michelle Branch
|Best New Artist
|
|-
|"The Game of Love" (with Santana)
||Best Pop Collaboration with Vocals
|
|-
||2004
|"Are You Happy Now?"
||Best Female Rock Vocal Performance
|
|-
||2007
|"Leave the Pieces"
||Best Country Performance by a Duo or Group with Vocal
|
MTV Video Music Awards
The MTV Video Music Awards were established in 1984 by MTV to celebrate the top music videos of the year. Branch received three nominations.
|-
|rowspan="3"|2002
|rowspan="2"|"All You Wanted"
|Best Female Video
|
|-
|Best Pop Video
|
|-
|"Everywhere"
|Viewer's Choice
|
Teen Choice Awards
The Teen Choice Awards is an annual awards show first aired in 1999 by Fox Broadcasting Company. Branch received four nominations.
|-
|rowspan="3"|2002
|Michelle Branch
|Choice Breakout Artist
|
|-
|rowspan="2"|"All You Wanted"
|Choice Love Song
|
|-
|Choice Summer Song
|
|-
|2003
|"The Game of Love"
|Choice Hook Up
|
Other awards
References
External links
1983 births
21st-century American actresses
21st-century American singers
21st-century American women singers
Actresses from Arizona
Actresses from Los Angeles
American child singers
American country singer-songwriters
American women country singers
American women guitarists
American women pop singers
American women rock singers
American film actresses
American multi-instrumentalists
American people of Dutch-Indonesian descent
American people of French descent
American people of Irish descent
American musicians of Indonesian descent
American pianists
American pop rock singers
American rock songwriters
American women pianists
Grammy Award winners
Guitarists from Arizona
Guitarists from Los Angeles
Indo people
Living people
Maverick Records artists
People from Sedona, Arizona
Singers from Los Angeles
The Wreckers members
Singer-songwriters from California
Singer-songwriters from Arizona
| true |
[
"22 More Hits is George Strait's 2007 compilation CD, comprising hits that did not reach Number One (except for \"She Let Herself Go\") on the country charts, from his 1981 debut single \"Unwound\" to his most recent single at the time of the album's release, \"How 'bout Them Cowgirls\". The collection is intended as a follow up companion to 50 Number Ones, a 2004 compilation which featured all of Strait's singles that had reached #1 to that point.\n\nTrack listing\n\nChart performance \nThe album debuted at number 13 on the U.S. Billboard 200 chart, selling about 80,000 copies in its first week.\n\nWeekly charts\n\nYear-end charts\n\nCertifications\n\nReferences \n\n2007 greatest hits albums\nGeorge Strait compilation albums\nMCA Records compilation albums",
"Inner Monologue Part 2 is the fifth extended play by American singer and songwriter Julia Michaels, released on June 28, 2019, through Republic Records. The EP features eight songs, including a collaboration with Role Model. It is the follow-up to her previous extended play released earlier the same year, titled Inner Monologue Part 1.\n\nBackground and release\nOn June 6, 2019, Michaels announced the release date of the EP. She released the EP on June 28, 2019. It serves as a follow-up to her EP Inner Monologue Part 1, released in January 2019. Michaels views both parts as one cohesive and connected album. Originally Michaels intended for Inner Monologue Part 1 to be full of love songs and for Inner Monologue Part 2 to be full of break-up songs, to distinct where she was from where she is now.\n\nPromotion\nThe EP was promoted with VEVO live performance videos for \"Falling for Boys\" and \"Hurt Again\" on July 10, as well as the release of the music videos for \"Body\" on August 7, \"17\" on August 27 and \"Priest\" on September 4.\n\nArtwork\nThe artwork was revealed along with the EP's release date on June 7, 2019.\n\nTrack listing\nCredits adapted from Tidal.\n\nCharts\n\nRelease history\n\nReferences\n\n2019 EPs\nJulia Michaels albums\nSequel albums"
] |
[
"Late Night with Conan O'Brien",
"Debut"
] |
C_ea8e70b3e3d140daa522df55051a5411_1
|
When did it debut?
| 1 |
When did Late Night with Conan O'Brien, debut?
|
Late Night with Conan O'Brien
|
O'Brien's Late Night debuted on September 13, 1993, with Andy Richter chosen as O'Brien's sidekick. The premiere episode featured John Goodman (who received a "First Guest" medal for his appearance), Drew Barrymore, and Tony Randall. The episode featured a cold open of O'Brien's walk to the studio with constant reminders that he was expected to live up to Letterman, parodying a popular sentiment expressed in the media at the time. After seeming to be unaffected by the comments, O'Brien arrives at his dressing room and cheerfully prepares to hang himself. However, a warning that the show is about to start causes him to abandon his plans. O'Brien's inexperience was apparent and the show was generally considered mediocre by critics in terms of the host's ability. The Chicago Sun-Times' Lon Grankhe called O'Brien "nervous, unprepared and generally geeky" and Tom Shales wrote "As for O'Brien, the young man is a living collage of annoying nervous habits. He giggles and titters, jiggles about and fiddles with his cuffs. He has dark, beady little eyes like a rabbit. He's one of the whitest white men ever." (O'Brien wrote for The New York Times a satirical review of the first episode the day it aired titled "O'Brien Flops!", in which he told readers "Frankly, I was not impressed".) The originality and quality of the comedy, however, led by original head writer Robert Smigel, was widely praised. Although O'Brien benefited by comparison from the quick critical and commercial failure of the fellow new late-night The Chevy Chase Show, NBC only offered short-term contracts, 13 weeks at a time and once for six weeks, as widely reported by the press at the time. O'Brien was reportedly almost fired at least once in this period, but NBC had no one to replace him. According to Smigel, "We were basically canceled at Conan, and then they changed their minds in August of '94, gave us a reprieve." According to O'Brien a network executive told him, in regards to Andy Richter, he'd "never succeed until I 'got rid of that big fat dildo.' That was the tone of the conversations between us and the network." It was widely expected that the host of Talk Soup, Greg Kinnear would take over the role, but Kinnear turned down the opportunity and decided to pursue a career in acting. Stars like Tom Hanks agreed to appear on Late Night, which boosted audience awareness. Even Letterman, who admired O'Brien's comic sensibility, appeared as a guest to register his support. O'Brien's performance style improved through experience and he began to receive more favorable reviews and ratings the following year. With the ratings gradually improving over the course of two years, Late Night reached a new level of critical and commercial success in 1996. Tom Shales officially recanted his previous critical review with the headline "I was wrong", and O'Brien received his first Emmy writing nomination, which he has gone on to receive every year since. CANNOTANSWER
|
O'Brien's Late Night debuted on September 13, 1993,
|
Late Night with Conan O'Brien is an American late-night talk show hosted by Conan O'Brien that aired 2,725 episodes on NBC from September 13, 1993 to February 20, 2009. The show featured varied comedic material, celebrity interviews, and musical and comedy performances. Late Night aired weeknights at 12:37 am Eastern/11:37 pm Central and 12:37 am Mountain in the United States. From 1993 until 2000, Andy Richter served as O'Brien's sidekick; following his departure, O'Brien was the show's sole featured performer. The show's house musical act was The Max Weinberg 7, led by E Street Band drummer Max Weinberg.
The second incarnation of NBC's Late Night franchise, O'Brien's program debuted in 1993 after David Letterman (who hosted the first incarnation of Late Night) moved to CBS to host Late Show opposite The Tonight Show. In 2004, as part of a deal to secure a new contract, NBC announced that O'Brien would leave Late Night in 2009 to succeed Jay Leno as the host of The Tonight Show. Jimmy Fallon began hosting his version of Late Night on March 2, 2009.
History
Replacing David Letterman
Upon Johnny Carson's retirement from The Tonight Show in 1992, executives at NBC announced that Carson's frequent guest-host Jay Leno would be Carson's replacement, and not David Letterman. NBC later said that Letterman's high ratings for Late Night were the reason they kept him where he was. Letterman was bitterly disappointed and angry at not having been given The Tonight Show job; and, at Carson's advice, he left NBC after eleven years on Late Night. CBS signed Letterman to host his own show opposite The Tonight Show. Letterman moved his show to CBS virtually unchanged, taking most of the staff, skits, and comedy formats with him. However, NBC owned the rights to the Late Night name, forcing Letterman to rename his show Late Show with David Letterman.
NBC was not prepared to replace both Letterman and Late Night. Aside from the name, it needed to build a new show. Both Dana Carvey and Garry Shandling declined to host it. Saturday Night Live producer Lorne Michaels was brought in to develop the new show, and comedians Jon Stewart, Drew Carey, and Paul Provenza auditioned to host. Michaels suggested to Conan O'Brien, an unknown writer for The Simpsons and former writer for Saturday Night Live, that he should audition for the job. Despite having "about 40 seconds" of television-performance experience as an occasional extra on Saturday Night Live sketches, O'Brien auditioned for the show on April 13, 1993. His guests were Jason Alexander and Mimi Rogers, and the audition took place on the set of The Tonight Show with Jay Leno. NBC offered the show to O'Brien on April 26, and O'Brien made his first meaningful television appearance later that day when Leno introduced him on Tonight. On the final episode of his 16-year run, O'Brien stated that he "owed his career to Lorne Michaels."
Debut
O'Brien's Late Night debuted on September 13, 1993, with Andy Richter chosen as O'Brien's sidekick. The premiere episode featured John Goodman, who received a "First Guest" medal for his appearance, Drew Barrymore, and Tony Randall. The episode featured a cold open of O'Brien's walk to the studio with constant reminders that he was expected to live up to Letterman; meanwhile, Tom Brokaw makes a cameo. After seeming to be unaffected by the comments, O'Brien arrives at his dressing room and cheerfully prepares to hang himself. However, a warning that the show is about to start causes him to abandon his plans.
The show's first musical guest was English rock band Radiohead, who performed during the second episode. American singer-songwriter Jonathan Richman was the show's second musical guest.
O'Brien's inexperience was apparent, and the show was generally considered mediocre by critics in terms of hosting. The Chicago Sun-Times Lon Grankhe called O'Brien "nervous, unprepared and generally geeky", and Tom Shales wrote "As for O'Brien, the young man is a living collage of annoying nervous habits. He giggles and titters, jiggles about and fiddles with his cuffs. He has dark, beady little eyes like a rabbit. He's one of the whitest white men ever." (O'Brien wrote for The New York Times a satirical review of the first episode the day it aired titled "O'Brien Flops!", in which he told readers "Frankly, I was not impressed".) The originality and quality of the comedy, however, led by original head writer Robert Smigel, was widely praised. Although O'Brien benefited by comparison from the quick critical and commercial failure of the fellow new late-night The Chevy Chase Show, NBC only offered short-term contracts, 13 weeks at a time and once for six weeks, as widely reported by the press at the time. O'Brien was reportedly almost fired at least once in this period, but NBC had no one to replace him. According to Smigel, "We were basically canceled at Conan, and then they changed their minds in August of '94, gave us a reprieve."
One NBC affiliate, KPRC-TV in Houston, dropped Late Night with Conan O'Brien in September 1994 due to low ratings and was replaced with first-run episodes of The Jenny Jones Show. KPRC reinstated O'Brien's Late Night in the fall of 1996, but scheduled it to air as late as 2:40 a.m. while the station, in addition to The Jenny Jones Show, had aired Extra, Access Hollywood, Ricki Lake, Montel Williams, Inside Edition and a rebroadcast of its 10:00 p.m. newscast between Leno and O'Brien. Houston became the subject of a skit (via classic remote piece) in which O'Brien made impromptu stops at Houston's central bus terminal and the Astrodome to watch an episode of his own show with Houstonians in 1997. KPRC began airing Late Night with Conan O'Brien directly following The Tonight Show with Jay Leno in 2004.
According to O'Brien, NBC network executive Warren Littlefield told him, with regard to Andy Richter, he'd "never succeed until I 'got rid of that big fat dildo.' That was the tone of the conversations between us and the network." It was widely expected that the host of Talk Soup, Greg Kinnear would take over the role, but Kinnear turned down the opportunity. (Kinnear would instead become host of Late Nights then-lead-out program, Later, in February 1994, remaining there for two years before deciding to pursue an acting career.) Stars like Tom Hanks agreed to appear on Late Night, which boosted audience awareness. Even Letterman, who admired O'Brien's comic sensibility, appeared as a guest to register his support. O'Brien's performance style improved through experience, and he began to receive more favorable reviews and ratings the following year. With the ratings gradually improving over the course of two years, Late Night reached a new level of critical and commercial success in 1996. Tom Shales officially recanted his previous critical review with the headline "I was wrong", and O'Brien received his first Emmy nomination for writing, which he received every year until 2011.
1996–2000
In 2000, Richter left Late Night on good terms, to pursue his acting career, a move that emotionally affected O'Brien, as evidenced by Richter's last show. The show's comedy bits and banter had usually depended on O'Brien's interaction with Richter. O'Brien's wacky non-sequitur comedy became more pronounced as he played all of his comedy and commentary directly to the audience and Max Weinberg instead of towards Richter.
2001–2009
In 2002, when time came to renew his contract, O'Brien had notable offers from other networks to defect; Fox was reported to have made particularly strong overtures, pitching him an 11:00 p.m. show. O'Brien decided to re-sign with NBC, however, joking that he initially wanted to make a 13-week deal (a nod to his first contract). He ultimately signed through 2005, indicating that it was symbolic of surpassing Letterman's run with 12 years of hosting.
In 2003, O'Brien's own production company, Conaco, was added as a producer of Late Night. The show celebrated its 10th anniversary, another milestone that O'Brien said he wanted to achieve with his 2002 contract. During the anniversary show, Mr. T handed O'Brien a chain with a large gold "7" on it.
O'Brien's last season on Late Night attracted an average of 1.98 million viewers, compared to 1.92 million viewers for The Late Late Show with Craig Ferguson.
US television ratings (late night talk shows)
Format
Humor
The show was known for its wacky and absurd sophomoric comedic sensibility that is edgier than most other talk shows. Like his Late Night predecessor, David Letterman, the show's humor also had a streak of biting sarcasm and irony. According to Robert Smigel, who served as head writer in 1993, the show's comedic approach was to focus on being different from David Letterman:
Typically O'Brien would play the 'straight man' role to the general absurdity of the comedy, treating the material or wacky nature of the sketches with sincerity. The show had an unusual quantity of comedy and original content rather than other talk shows such as Late Show with David Letterman or The Tonight Show with Jay Leno that relied heavily on recurring segments and 'found' humor. The show was particularly unique in the lack of 'found' humor to derive content from i.e. most content being scripted as opposed to Letterman's Small Town News or Jay Leno's headlines that used this "found humor". O'Brien would often playfully chide his audience for an underwhelming or overly enthusiastic response to his jokes.
Particularly in the early years, comedic sketches overtook all segments on the show, occasionally even interrupting guest interviews and O'Brien's monologue. Frequently sketches would randomly begin without introduction, such as during banter between Richter and O'Brien. A lot of the humor had a fantasy-like quality to it, where inanimate objects would talk or silly characters would disrupt the show. Sometimes a short story would emerge in these sketches with a resolution culminating in a song.
One recurring technique is to superimpose lips onto an existing image, as in the Syncro-Vox limited animation technique, resulting in the speaker saying things often quite out of character.
Although Late Night used political humor, it did so far less frequently than competing shows did. During the 1996 and 2000 presidential election seasons, Late Night was found to be the least politically-oriented late night program. It averaged 310 political jokes per election season, in contrast to the Leno-led Tonight Show with 1,275.
(See List of Late Night with Conan O'Brien sketches for an extensive list)
The Max Weinberg 7
The show's house band was The Max Weinberg 7, led by drummer Max Weinberg. The other six members were Mark Pender on trumpet, Richie "LaBamba" Rosenberg on trombone, Mike Merritt on bass, Jerry Vivino on saxophone and brother Jimmy Vivino on guitar, and Scott Healy on keyboards. Weinberg sometimes took extended leaves of absence to tour with Bruce Springsteen as the drummer for the E Street Band. During his absence, James Wormworth would typically fill in on drums, and the band was led by Vivino under the name Jimmy Vivino and the Max Weinberg 7.
With the departure of Andy Richter from Late Night in May 2000, Max Weinberg assumed a bigger role as an interlocutor for O'Brien's jokes. One common running gag was Max's awkwardness on camera and his apparent lack of chemistry with Conan. Weinberg was often used in sketches as well, which usually revolved around his purported sexual deviance (mostly a penchant for bedding barely legal groupies), although long-running sketches also spoofed Max's lack of knowledge of current affairs.
"LaBamba" was also used as the butt of many of Conan's jokes. These humorous sketches usually revolved around LaBamba's sizeable mustache, his poor acting skills, and his alleged inability to read written music. Mark Pender would often sing songs on the topic of a current event which ended with him screeching uncontrollably and climbing the risers into the audience. All members of the 7 have had successful side careers as studio musicians.
Theme song and other music
The show's opening theme was co-written by composer Howard Shore and John Lurie (of the band The Lounge Lizards). Lurie would later say that he was contracted by Shore to write the theme, and after he turned in the piece, Shore made minimal changes and claimed an unwarranted co-writing credit. Lurie also claimed to have been a finalist for Late Night'''s band leader position, but said producers told him, "Conan thinks you’re funnier than him and that scares him."
As is common in the talk show format, the Max Weinberg 7 performed the show's opening and closing themes, played bumpers into and out of commercial breaks (they actually played through the entire break for the studio audience), and a short piece during O'Brien's crossover to his desk after his monologue. The show's closing theme was called "Cornell Knowledge", and was lifted from Jerry and Jimmy Vivino's first album together. However, on Late Night, it was played at a much quicker tempo than the album version. The band also played a wide variety of songs as bumpers coming to and from commercial breaks and introducing guests—usually popular music from a variety of eras.
Joel Godard
Joel Godard, a long-time announcer for NBC shows, was the program's announcer and a frequent comedy contributor. On the show's final episode, Conan noted that Godard was originally hired to simply announce the show's intro and claimed "nobody thought you'd ever see him", however he was gradually worked into the show's comedy pieces. These bits usually revolved around Godard's supposed homosexual fetishes, deviant sexual habits, substance abuse, and suicidal tendencies. The humor came in part from Godard's delivery. No matter how depressing or deviant the topic being discussed was, he always did so in an exaggeratedly cheerful voice and with a huge smile plastered on his face. Several sketches ended with Godard apparently committing suicide in his announcer's booth.
When Andy Richter left the show in 2000, Joel Godard became more common among sketches.
Writing staff
In the first few seasons of the show, the writing staff consisted of several now-prolific comics including Robert Smigel as the head writer, Bob Odenkirk, Louis C.K., Tommy Blacha and Dino Stamatopoulos. Smigel left his position as head writer of the show in 1995 to pen several movies but continued to appear on the show to do bits as Triumph the Insult Comic Dog and the 'Satellite Interviews'. Jonathan Groff took over his position until replaced by Mike Sweeney in 2001.
Members of the show's writing staff frequently appeared in sketches on the show. Among the most prolific were: Brian McCann (Preparation H Raymond, FedEx Pope, The Loser, Airsick Moth, Jerry Butters, Awesome Dave, Funhole Guy, Bulletproof Legs Guy, Adrian "Raisin" Foster, S&M Lincoln, etc.), Brian Stack (Hannigan the Traveling Salesman, Artie Kendall the Ghost Crooner, The Interrupter, Kilty McBagpipes, Fan-tastic Guy, Clive Clemmons, Frankenstein, Ira, Slipnut Brian, etc.), Jon Glaser (Segue Sam, Pubes, Awareness Del, Wrist Hulk, Ahole Ronald, Gorton's Fisherman, Jeremy, Slipnut Jon, etc.), Kevin Dorff (Coked-up Werewolf, Jesus Christ, Mansy the half-man/half-pansy, Joe's Bartender, Todd the Tiny Guy, etc.), and Andy Blitz (Awful Ballgame Chanter, Vin Diesel's brother Leonard Diesel, Slipnut Andy, Chuck Aloo aka the star of the 24 spin-off series 60). Blitz went so far as to travel to India for one bit in which he carried his computer through the streets of India to get technical support firsthand from the telephone representative at NBC's technical help center.
Several writing staff interns have gone on to become noted actors or writers including Vanessa Bayer, John Krasinski, Mindy Kaling, Ellie Kemper and Jack McBrayer.
Sketch actors and cameo appearancesLate Night employed a number of sketch actors, many of whom were frequently reused in different roles in different episodes. Several years before joining the cast of Saturday Night Live, and for playing the role of Leslie Knope on another NBC TV show, Parks and Recreation, Amy Poehler often appeared as a regular in many sketches, though she was best remembered for playing the recurring role of Andy Richter's Conan-obsessed teenage sister, Stacy. Other notable comedians such as Jack McBrayer, Rob Riggle, Rob Corddry, H. Jon Benjamin, Ellie Kemper, Bobby Moynihan, Matt Besser, Ian Roberts, Matt Walsh and Andrew Daly also frequently appeared as sketch actors on the show for several years. Triumph the Insult Comic Dog (created and voiced by original head writer Robert Smigel) began as part of a sketch on Late Night. Celebrities such as Dr. Joyce Brothers, Nipsey Russell, Abe Vigoda, James Lipton, Bob Saget and William Preston as the character Carl 'Oldy' Olsen also made frequent cameo appearances in comedy sketches on the show at different periods. One of the show's graphic designers, Pierre Bernard, was featured in several sketches, such as "Pierre Bernard's Recliner of Rage" and "Nerding It Up For Pierre".
Celebrity guests of the night would also occasionally appear in sketches either during their interviews or during the earlier comedy segments, e.g. in "In the year 2000" (which always included the participation of a celebrity guest after Andy Richter left the show) or a sketch where Conan would pretend to write in his diary while an attractive female guest was there. Quite rare for a talk show, sometimes interviews began normally but turned into sketches with both the guest and Conan participating, usually when the guest was a "friend of the show."
Costumed characters
Unusual for a late night talk show, Late Night made frequent use of various costumed characters such as The Masturbating Bear, Robot on a Toilet, and Pimpbot 5000. The humor in these sketches often derived from the crude construction of the characters' costumes as well as the absurdist nature of their conceptions. For example, Pimpbot 5000 was a 1950s-style robot who dressed and acted in the manner of an exaggerated blaxploitation pimp, while The Masturbating Bear was a man in a bear costume wearing an oversized diaper who would invariably begin to fondle himself to the tune of Aram Khachaturian's "Sabre Dance" when brought on stage. Many of these characters did little more in their appearances than walk across the stage or be wheeled out from behind the curtain, but some had extensive sketches on the show.
Appearances in other shows
The show made a cameo appearance in the Sesame Street special Elmopalooza, where Conan was interviewing two aliens while Big Bird was passing by them carrying a video tape.
The show also made an appearance on The Simpsons in the episode "Bart Gets Famous", where Conan interviews a now famous Bart.
ProductionLate Night was a production of Lorne Michaels's Broadway Video (and, since 2003, O'Brien's Conaco). It was taped in Studio 6A in the GE Building at 30 Rockefeller Plaza in New York City. Next to the door were framed pictures of Letterman, Carson, Jack Paar and Steve Allen, each of whose groundbreaking late-night shows originated from studio 6A or 6B (where The Tonight Show Starring Jimmy Fallon is currently taped). The studio holds just over 200 audience members. It was taped at about 5:30 pm as an uninterrupted hour-long program, with the band playing music through the portions that would be filled by commercials. Generally, shows were taped at 5:30 pm Monday through Friday, although for much of the show's run, reruns would be aired on Mondays and the show would not tape that day.
The show's format consisted of an opening monologue from O'Brien, followed by various "desk bits". These generally included several brief sketches, recurring segments, or some other form of comedy. Typically O'Brien would play the 'straight man' role to the general absurdity of the comedy, treating the material or wacky nature of the sketches with sincerity. In the show's second and fourth segments, O'Brien interviewed two celebrity guests, between which, in the third segment, O'Brien listed the next night's/week's guests. There was often a comedy bit as well during this segment. The show's fifth segment was usually reserved for a musical or stand-up comedy performance, or occasionally another guest interview. The show's final segment was usually a quick "goodnight" and the closing credits, which sometimes featured part of a bit from earlier in the show. Quite rare for a talkshow, frequently comedy segments would also spill into the interviews, typically when a guest was a 'friend'of the show.
During the live tapings, and prior to the show, there was an audience warm-up, during which the audience watched a montage of highlights from the show, and staff writer Brian McCann greeted the audience (this task was formerly undertaken by head writer Mike Sweeney). McCann delivered a few jokes, told the audience what to expect, and finally introduced the band and then O'Brien. O'Brien then thanked the audience for coming, meeting as many audience members as he could. He would often then do a musical number with the band to pump up the audience (Burning Love was one standard). After the show was finished taping, O'Brien sang the "End of the Show Song", which never aired on Late Night, although in February 2009, a short video of it was posted on Late Night Underground. The End of the Show Song finally did reach air on January 21, 2010, his penultimate show as Tonight Show host. It also was aired on the March 29, 2012 episode of Conan. The tradition of singing The End of the Show Song has continued, un-aired as usual, on Conan.
BroadcastLate Night began broadcasting in 1080i ATSC on April 26, 2005, with a downscaled letterboxed NTSC simulcast (unlike The Tonight Show, whose NTSC simulcast is fullscreen). O'Brien celebrated the conversion to the widescreen HDTV format with jokes throughout the week.
On December 6, 2005 Late Night with Conan O'Brien segments began selling on the iTunes Store. Most segments were priced at $1.99, as were most episodes of other shows, with "special" best-ofs and other longer segments priced at $9.99. In December, 2007 NBC stopped selling all its television shows on iTunes, but the network returned it to iTunes in September 2008 after NBC and Apple worked out a new agreement. The show was offered free at Hulu.com and the NBC website but has been unavailable on the Internet since the 2010 Tonight Show conflict. However, in May 2018, O'Brien and his current network, TBS, announced they would partner with NBC to make his entire Late Night archives available online, marking the 25th anniversary of O'Brien's late night debut.
Special episodes
Remote pieces and episodes shot on location
Remote pieces shot on location were a recurring staple on Late Night, but occasionally, entire episodes were shot on location, usually during sweeps months. The first vacation for the show was a week-long stint of shows in Los Angeles the week of November 9–12, 1999. This was the only location week for the show while Andy Richter was with the show, and the only time the show's theme was altered for the week, with a more surf-style version of the show's normal theme (though the Toronto shows ended the normal theme with a piece of "O Canada"). The show was broadcast from NBC's L.A. studios (NBC Studios Burbank) and an L.A.-themed set was built, very similar in layout to the New York set.
From February 10–13, 2004, Late Night broadcast from the Elgin Theatre in Toronto, Canada. The guests for these episodes were all Canadians (with the exception of Adam Sandler), and included such stars as Jim Carrey and Mike Myers. As the show was taped at a theater, unlike the trip to L.A., the set built was not like the show's standard set.
From May 9–12, 2006, the show made a similar venture to the Chicago Theatre in Chicago, Illinois, taking cues from their previous trip to Toronto. Between April 30 – May 4, 2007, the show originated from the Orpheum Theatre in San Francisco.
In a sketch called "Conan O'Brien Hates My Homeland", Conan mocked every nation in the world to see which ones he gets letters from. An announcer on the Finnish entertainment channel SubTV, which airs the show a couple of days after it is aired in the US, asked people to defend Finland before Conan got to insult it, and the viewers in Finland began sending mail before the bit had even gotten to the letter F. Conan responded by assuming the Finnish "just couldn't wait" to be insulted and officially insulted Finland in the segment. An overwhelming number of postcards were supposedly received, which apparently "forced" Conan to give Finland a formal apology. Conan then went as far as to have the flag of Finland shown in the background during a speech and slandered the Finns' "hated" neighbor Sweden with a sign saying "Sweden Sucks!" printed over the flag of Sweden. It would seem that this chain of events led to elevated ratings in Finland and subsequently also sparked a special relationship with the viewers in Finland. Later when Conan was talking to audience members before the show, a group of fans visiting from Finland commented that he resembled their female president Tarja Halonen. Conan mentioned the resemblance on his show, even showing pictures of Halonen next to himself. When he discovered that Halonen was up for reelection he began making satirical commercials in support of Halonen and vowed to travel to Finland to meet her if she won re-election. When she did indeed win re-election in January 2006, Conan traveled to Finland and met with her. One episode, broadcast on March 10, 2006, was compiled mainly of footage from O'Brien's trip to Finland. In the episode, Conan greeted fans at the airport, participated in a Sami cultural ceremony, appeared on a Finnish talk show, and attempted to visit a fan who had written to him. The episode was not strictly taped as a live episode there, however, but was prefaced by an introduction by O'Brien taped in New York. The Finland episode came as the culmination of a long-running joke on the show.
Aside from location shows, the show also did special one-shots in its early years. In 1995, one episode of the show was taped aboard a New York City ferry in New York Harbor. Dubbed "The Show on a Boat" by the showtunes-style song-and-dance number performed by a trio of "sailors" at the start of the show, O'Brien, Richter, the band and guests were all crammed onto the deck of the ferry. The show was taped at its normal afternoon time, while it was still light out.
Technical and production difficulties
A more unexpected shoot occurred on October 10, 1996, when a five-alarm fire in Rockefeller Plaza rendered the 6A studios out of commission for the remainder of that week. The fire occurred on early Thursday morning, which left O'Brien's staff precious little time to assemble a show elsewhere. Pressed for time as 12:35 approached, O'Brien taped the show outside, after dark, despite the cold weather, on a makeshift set with the Prometheus statue and 30 Rock serving as a backdrop. Furthering the unfortunate nature of the evening's circumstances was the final guest, Julie Scardina, who brought along wild animals, including birds that Conan explained had to be kept tied up, as they could not be freed outside. Earlier in the show, O'Brien and Richter walked into Brookstone (located in the lobby of Rockefeller Center), camera crew in tow, and bought a massaging leather recliner for the first guest, Samuel L. Jackson. The second of the two "fire shows", on Friday night, was taped in the Today Show studio, which was not affected by the fire.
During the Northeast Blackout of 2003, O'Brien and the staff taped a short 10-minute introduction explaining that the episode they had planned would not be taking place due to the blackout. Studio 6A was powered by a generator and lit by battery-powered floodlights. A standby show was aired in-progress after the intro. One of the scheduled guests that night, The Dandy Warhols, commandeered the studio's green room, where they stayed until they performed on the show the next night.
Gimmick episodes
Other shows that were taped in the regular 6A studio were augmented by special gimmicks:
A lot of high-concept gimmick episodes were done in the early years of the show, such as a 1994 episode literally done in a giant hole, a 1995 show done entirely on a boat of the circle line or "Time Travel Week", four episodes from early 1996, where Conan and Andy (and the rest of the crew) "time-traveled" to a different point in time each night. Times and locations included The Civil War, Ancient Greece, The future, and The early '80s (featuring a cameo by David Letterman in the cold open, who occupied Conan's studio in 1983, cruelly brushing off Conan and Andy's attempt at explaining their presence in Letterman's dressing room by saying, "Why don't you two fellas go find a nice, warm place to screw yourselves? Security!").
In 1997, a special episode was taped in which the studio audience was composed solely of grade-school age children, primarily 5–10 years of age. Conan interacted with the children, encouraging them to laugh and cheer to keep away the boredom monster.
The February 19, 1998 episode was aired against coverage of the 1998 Winter Olympics on CBS, and therefore, Conan assumed no one was watching, and they could do anything. He and Andy took to performing increasingly outrageous acts, such as Conan revealing a Hanson T-shirt under his shirt and tie, and confessing his hatred for the NBC screen bug, going as far as to kill it with a can of Raid. He and Andy also smoked on the air (with a cutaway showing a mother finding her two kids imitating Conan), Max Weinberg confessed to killing Bruce Springsteen's previous drummer, as well as a number of other people he didn't like (even showing a map of where he buried them), Al Roker walked into the studio and confessed he never liked the weather, and Conan asked a female audience member to have consensual sex with him, which the woman vehemently refused. The event became known as "Nobody's Watching".
The October 18, 2002 episode was re-shot entirely in clay animation nearly seven months after its first airing, including the opening credits and commercial bumpers. The episode's originally broadcast soundtrack was retained while the visuals were reproduced to mirror the original footage in a small-scale reproduction of the studio 6A.
On October 31, 2006, a similarly conceptualized Halloween episode was created from an episode which originally aired in May and featured Larry King, among other guests. Using a process the show called "Skelevision", all the visuals were re-shot with a Halloween motif, with human skeletons adorned with the clothing and accessories of the humans. This re-shoot was shot using the actual studio, and the puppeteers moved the skeletons with wires and cables while being visually obscured by green screen technology. Once again, the opening and bumpers were altered, this time including a model of a hearse winding through a foggy landscape and cemetery, and the voice of Bill Hader as Vincent Price in place of Joel Godard.
U2 exclusive
The October 5, 2005 episode of Late Night was devoted entirely to the band U2, marking the first time in the show's then 13-year run that it had devoted an entire show to a single guest. Jim Pitt, the talent executive in charge of booking acts for the show, remarked that in his 12 years of working for Late Night, U2 and Johnny Cash were the "dream artists" he'd tried, but never succeeded in getting. The band performed three songs, two more than the customary one song, then had a lengthy interview with Conan.
Episodes during the 2007–2008 writer's strike
After two months of being off-air, the first show to air during the 2007–2008 Writers Guild of America strike on January 2, 2008 featured a small musical segment at the beginning of the show detailing O'Brien's newly grown beard in a show of support for the striking writers. At the beginning of the January 28 episode, it was revealed that Conan had shaved his beard, which was followed with a similar musical segment.
Several times during the episodes produced during the writer's strike, O'Brien would kill time by spinning his wedding ring on his desk, which he previously only did during rehearsals. His personal best was 41 seconds, achieved during an un-aired rehearsal. After several unsuccessful on-air attempts to break his record, during the show originally broadcast on February 9, 2008, O'Brien broke his record for endurance ring spinning, setting a time of 51 seconds by coating his wedding ring with Vaseline and spinning it on a Teflon surface. The feat was accomplished with the help of MIT physics professor Peter Fisher. These episodes are considered by most fans to be the magnum opus of O'Brien's television career, considering the spontaneity of each episode. The strike also gave rise to associate producer Jordan Schlansky's repeated appearances on the show as an embellished version of himself.
"Feud" with Jon Stewart and Stephen Colbert
Early on in the later half of the 2007–2008 Writer's Guild strike, Conan O'Brien accused his show of being the sole cause of presidential candidate Mike Huckabee's status in the polls, due to his use of the Walker, Texas Ranger Lever while Chuck Norris was coincidentally sponsoring Huckabee. Stephen Colbert made the claim that because of "the Colbert bump," he was responsible for Huckabee's current success in the 2008 presidential race. O'Brien claimed that he was responsible for Colbert's success because he had made mention of him on his show. In response, Jon Stewart, host of The Daily Show, claimed that he was responsible for the success of O'Brien, and in turn the success of Huckabee and Colbert. This resulted in a three-part comedic battle among the three hosts, with all three appearing on each other's shows. The feud ended on Late Night with an all-out mock brawl between the three talk-show hosts.
Anniversary episodes
In 1996, a third anniversary episode was taped, though it aired in the regular 12:35/11:35 late night time slot. The show was composed of clips of the best of the first three years, and featured cameos from many former guests, including Janeane Garofalo, Scott Thompson, Tony Randall and George Wendt. Typical of O'Brien's style of comedy, he introduced his first guest (Wendt) by listing his notable achievements in television (particularly Cheers) then introduced each subsequent guest by repeatedly listing Wendt's achievements (insinuating that all of his guests for that night's show played the role of Norm on Cheers). In 1998, Late Night aired a fifth anniversary special in prime time, mostly consisting of clips from the first five years. It was taped in the Saturday Night Live studio, also in the GE Building. The special was later sold on VHS tape. In 2003, a similar tenth anniversary special was taped in New York City's famed Beacon Theatre and later made available on DVD.
The final episodeLate Night with Conan O'Briens last episode was recorded February 20, 2009, and aired shortly after midnight that next morning. The episode featured clips from past shows and a reflection on the show's sixteen-year-long run. John Mayer sent a farewell video message, singing a song about how Los Angeles is "going to eat [Conan] alive." In a short remote piece, Conan released regular contributor Abe Vigoda "into the wild," as he could not bring him to Los Angeles for the move to The Tonight Show. Will Ferrell made a surprise visit as George W. Bush, which quickly devolved into Ferrell tearing off his business suit to reveal an ill-fitting green leprechaun outfit that had been worn in a number of previous appearances on the show.
Former sidekick Andy Richter, who re-joined O'Brien when he took over The Tonight Show in June, joined O'Brien onstage for two segments, watching clips and reminiscing about the show. Among the clips shown, O'Brien noted that his all-time favorite Late Night piece was when he attended a re-enactment of an American Civil War-era baseball game, played at a Long Island, New York museum, Old Bethpage Village Restoration. During the course of the final week, O'Brien began violently dismantling and handing out pieces of the production set to the audience. In the final show, a large piece of the stage's frame was pulled down and chopped into pieces. O'Brien then promised to give each audience member in attendance a piece of the set.
One of Conan's favorite bands, The White Stripes, performed a new, slower arrangement of their song "We're Going to Be Friends" based on Conan's lullaby rendition of the song, with drummer Meg White playing second guitar and singing along with vocalist/guitarist Jack White. The performance proved to be the band's last before their breakup in February 2011. The program concluded with a visibly emotional O'Brien giving a farewell speech from behind his desk, thanking his fans, writers, producers, backstage crew, his family, the Max Weinberg 7, David Letterman, Joel Godard, Jay Leno, and Lorne Michaels, as well as a final assurance that he would not "grow up" as he moved to The Tonight Show.
About 3.4 million viewers watched O'Brien's final episode of Late Night, the largest audience since the January 24, 2005 episode that followed Jay Leno's tribute to Johnny Carson.
After the end of the series, Studio 6A at Rockefeller Center was remodeled for The Dr. Oz Show. In the summer of 2013, NBC moved Late Night with Jimmy Fallon to Studio 6A while 6B, which housed Late Night since Fallon succeeded O'Brien in 2009, was being renovated when Fallon took over The Tonight Show on February 17, 2014 while The Dr. Oz Show moved to ABC's Upper West Side studios.
Awards and nominations
Set design
O'Brien's Late Night had three longterm permanent sets, but retained the basic structure used when Letterman occupied Studio 6A: the performance space at the viewer's left, and the desk area, to the viewer's right, where interviews were done. O'Brien did his monologue in the performance area, emerging at the start of each episode from the area where musical guests perform. The Max Weinberg 7 were in the corner made by the stage-right wall and the wall in front of the audience. The desk area had a desk for O'Brien, a chair and couch(es) to the viewer's left for guests (and originally Andy Richter), and a coffee table.
Primarily, set changes involved the background behind the desk and chair and couch. The original set, used from the show's debut in 1993 until the fall of 1996, was primarily yellow, and the desk background resembled the living room of a New York City apartment, with windows that looked out at a Manhattan backdrop. For years afterwards, O'Brien mocked this original set, particularly its "mustard color". The two subsequent set designs featured darker blues and violets to emulate the feel of nighttime, with the final set featuring a balcony railing in front of a backdrop with the view from the top of Rockefeller Center. This set debuted on September 4, 2001 and necessitated changes almost instantly as its backdrop view of New York City contained the World Trade Center, which was destroyed a week later. A special curtain was used to obstruct the towers temporarily, until eventually the curtain became a permanent part of the set design even after the backdrop was altered. During his final week of episodes, Conan took an axe to parts of the set, giving it out to audience members as souvenirs, not wanting to allow it to simply be thrown away.
International broadcasts
CNBC Europe used to air Late Night with Conan O'Brien on weeknights from 11:45 pm–12:30 am CET, with weekend editions on Saturdays and Sundays at 9:45 pm–10:30 pm CET. However, in March 2007, CNBC Europe decided to show only the weekend editions, and drop the weeknight editions, to make way for more business news programmes in their weeknight schedules.
On the week of August 4, 2008, however, CNBC Europe has discontinued showing the NBC Nightly News, which for many years was shown live from America in a 12:30 am–1:00 am CET slot. Late Night with Conan O'Brien has now replaced NBC Nightly News in the 12:30 am–1:00 am slot. The weeknight editions are a 30-minute condensed version of the show. The show follows the weeknight condensed version of The Tonight Show with Jay Leno which airs at 12:00 am CET.
In September 2008, CNBC Europe changed the weeknight schedules to include full uncut editions of Late Night with Conan O'Brien broadcast in the 11:45 am CET/10:45 pm GMT 45-minute time slot. This schedule usually runs from Tuesdays to Fridays. CNBC Europe decided to stop broadcasting Late Night as of January 1, 2009, a mere two months before Conan's last show as host. Instead of following The Tonight Show reruns on weekends, CNBC now broadcasts two Tonight Show episodes in a row.
See also
List of Late Night with Conan O'Brien sketches
List of Late Night with Conan O'Brien characters
List of Late Night with Conan O'Brien episodes
Pale Force
The Tonight Show with Conan O'Brien''
List of late night network TV programs
References
Further reading
External links
Joseph Konopka scenic art journals for Late Night with Conan O'Brien, 1993-2009, held by the Billy Rose Theatre Division, New York Public Library for the Performing Arts
1993 American television series debuts
2009 American television series endings
1990s American late-night television series
2000s American late-night television series
1990s American television talk shows
2000s American television talk shows
CNBC Europe original programming
English-language television shows
O'Brien, Conan
NBC original programming
Primetime Emmy Award-winning television series
Television series by Universal Television
Television shows set in New York City
American television shows featuring puppetry
Conan O'Brien
Television series by Broadway Video
Television series by Conaco
Television shows filmed in New York City
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[
"Ashley van Rooi (born April 6, 1988) is a Namibian cricketer. He made his debut for the Namibian team at the African Under-19 Championship tournament of 2007, playing in all five games for the side.\n\nVan Rooi made his List A debut for the Namibian team when Canada visited the country in 2007. However, van Rooi did not bowl cheaply, with an economy of precisely 7 on his debut.\n\nVan Rooi's uncle, Burton, has played with the Namibian team since 2000, and occupies a similar position to Ashley in the Namibian tailend.\n\nVan Rooi made his first-class debut in October 2009, against Free State.\n\nExternal links\nAshley van Rooi at Cricket Archive \n\n1988 births\nNamibian cricketers\nLiving people",
"Aftab Ahmed (born 14 September 1983) is a former Pakistani cricketer. From Karachi, Sindh, Aftab played for Karachi at under-19 level from the 2000–01 season onwards, making his debut at the age of 16. He went on to make his first-class debut during the 2002–03 season, playing twice for the Public Works Department in the Quaid-e-Azam Trophy. His List A debut came later in the season, when he played four matches for the same team in the limited-overs National Bank of Pakistan Patron's Cup. A right-arm off spinner, Aftab's best bowling figures at first-class level came on debut, when he took 4/13 in Dadu's second innings to help the Public Works Department win by 97 runs. Despite being only 20 years old during his debut season, the 2002–03 season was his only season at a major level, although he did continue to play inter-district matches for local teams until the late 2000s.\n\nReferences\n\n1983 births\nLiving people\nPakistani cricketers\nPublic Works Department cricketers\nCricketers from Karachi"
] |
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"Late Night with Conan O'Brien",
"Debut",
"When did it debut?",
"O'Brien's Late Night debuted on September 13, 1993,"
] |
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Are there any other interesting aspects about this article?
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Are there any other interesting aspects about Late Night with Conan O'Brien other than the debut date?
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Late Night with Conan O'Brien
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O'Brien's Late Night debuted on September 13, 1993, with Andy Richter chosen as O'Brien's sidekick. The premiere episode featured John Goodman (who received a "First Guest" medal for his appearance), Drew Barrymore, and Tony Randall. The episode featured a cold open of O'Brien's walk to the studio with constant reminders that he was expected to live up to Letterman, parodying a popular sentiment expressed in the media at the time. After seeming to be unaffected by the comments, O'Brien arrives at his dressing room and cheerfully prepares to hang himself. However, a warning that the show is about to start causes him to abandon his plans. O'Brien's inexperience was apparent and the show was generally considered mediocre by critics in terms of the host's ability. The Chicago Sun-Times' Lon Grankhe called O'Brien "nervous, unprepared and generally geeky" and Tom Shales wrote "As for O'Brien, the young man is a living collage of annoying nervous habits. He giggles and titters, jiggles about and fiddles with his cuffs. He has dark, beady little eyes like a rabbit. He's one of the whitest white men ever." (O'Brien wrote for The New York Times a satirical review of the first episode the day it aired titled "O'Brien Flops!", in which he told readers "Frankly, I was not impressed".) The originality and quality of the comedy, however, led by original head writer Robert Smigel, was widely praised. Although O'Brien benefited by comparison from the quick critical and commercial failure of the fellow new late-night The Chevy Chase Show, NBC only offered short-term contracts, 13 weeks at a time and once for six weeks, as widely reported by the press at the time. O'Brien was reportedly almost fired at least once in this period, but NBC had no one to replace him. According to Smigel, "We were basically canceled at Conan, and then they changed their minds in August of '94, gave us a reprieve." According to O'Brien a network executive told him, in regards to Andy Richter, he'd "never succeed until I 'got rid of that big fat dildo.' That was the tone of the conversations between us and the network." It was widely expected that the host of Talk Soup, Greg Kinnear would take over the role, but Kinnear turned down the opportunity and decided to pursue a career in acting. Stars like Tom Hanks agreed to appear on Late Night, which boosted audience awareness. Even Letterman, who admired O'Brien's comic sensibility, appeared as a guest to register his support. O'Brien's performance style improved through experience and he began to receive more favorable reviews and ratings the following year. With the ratings gradually improving over the course of two years, Late Night reached a new level of critical and commercial success in 1996. Tom Shales officially recanted his previous critical review with the headline "I was wrong", and O'Brien received his first Emmy writing nomination, which he has gone on to receive every year since. CANNOTANSWER
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The premiere episode featured John Goodman (who received a "First Guest" medal for his appearance
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Late Night with Conan O'Brien is an American late-night talk show hosted by Conan O'Brien that aired 2,725 episodes on NBC from September 13, 1993 to February 20, 2009. The show featured varied comedic material, celebrity interviews, and musical and comedy performances. Late Night aired weeknights at 12:37 am Eastern/11:37 pm Central and 12:37 am Mountain in the United States. From 1993 until 2000, Andy Richter served as O'Brien's sidekick; following his departure, O'Brien was the show's sole featured performer. The show's house musical act was The Max Weinberg 7, led by E Street Band drummer Max Weinberg.
The second incarnation of NBC's Late Night franchise, O'Brien's program debuted in 1993 after David Letterman (who hosted the first incarnation of Late Night) moved to CBS to host Late Show opposite The Tonight Show. In 2004, as part of a deal to secure a new contract, NBC announced that O'Brien would leave Late Night in 2009 to succeed Jay Leno as the host of The Tonight Show. Jimmy Fallon began hosting his version of Late Night on March 2, 2009.
History
Replacing David Letterman
Upon Johnny Carson's retirement from The Tonight Show in 1992, executives at NBC announced that Carson's frequent guest-host Jay Leno would be Carson's replacement, and not David Letterman. NBC later said that Letterman's high ratings for Late Night were the reason they kept him where he was. Letterman was bitterly disappointed and angry at not having been given The Tonight Show job; and, at Carson's advice, he left NBC after eleven years on Late Night. CBS signed Letterman to host his own show opposite The Tonight Show. Letterman moved his show to CBS virtually unchanged, taking most of the staff, skits, and comedy formats with him. However, NBC owned the rights to the Late Night name, forcing Letterman to rename his show Late Show with David Letterman.
NBC was not prepared to replace both Letterman and Late Night. Aside from the name, it needed to build a new show. Both Dana Carvey and Garry Shandling declined to host it. Saturday Night Live producer Lorne Michaels was brought in to develop the new show, and comedians Jon Stewart, Drew Carey, and Paul Provenza auditioned to host. Michaels suggested to Conan O'Brien, an unknown writer for The Simpsons and former writer for Saturday Night Live, that he should audition for the job. Despite having "about 40 seconds" of television-performance experience as an occasional extra on Saturday Night Live sketches, O'Brien auditioned for the show on April 13, 1993. His guests were Jason Alexander and Mimi Rogers, and the audition took place on the set of The Tonight Show with Jay Leno. NBC offered the show to O'Brien on April 26, and O'Brien made his first meaningful television appearance later that day when Leno introduced him on Tonight. On the final episode of his 16-year run, O'Brien stated that he "owed his career to Lorne Michaels."
Debut
O'Brien's Late Night debuted on September 13, 1993, with Andy Richter chosen as O'Brien's sidekick. The premiere episode featured John Goodman, who received a "First Guest" medal for his appearance, Drew Barrymore, and Tony Randall. The episode featured a cold open of O'Brien's walk to the studio with constant reminders that he was expected to live up to Letterman; meanwhile, Tom Brokaw makes a cameo. After seeming to be unaffected by the comments, O'Brien arrives at his dressing room and cheerfully prepares to hang himself. However, a warning that the show is about to start causes him to abandon his plans.
The show's first musical guest was English rock band Radiohead, who performed during the second episode. American singer-songwriter Jonathan Richman was the show's second musical guest.
O'Brien's inexperience was apparent, and the show was generally considered mediocre by critics in terms of hosting. The Chicago Sun-Times Lon Grankhe called O'Brien "nervous, unprepared and generally geeky", and Tom Shales wrote "As for O'Brien, the young man is a living collage of annoying nervous habits. He giggles and titters, jiggles about and fiddles with his cuffs. He has dark, beady little eyes like a rabbit. He's one of the whitest white men ever." (O'Brien wrote for The New York Times a satirical review of the first episode the day it aired titled "O'Brien Flops!", in which he told readers "Frankly, I was not impressed".) The originality and quality of the comedy, however, led by original head writer Robert Smigel, was widely praised. Although O'Brien benefited by comparison from the quick critical and commercial failure of the fellow new late-night The Chevy Chase Show, NBC only offered short-term contracts, 13 weeks at a time and once for six weeks, as widely reported by the press at the time. O'Brien was reportedly almost fired at least once in this period, but NBC had no one to replace him. According to Smigel, "We were basically canceled at Conan, and then they changed their minds in August of '94, gave us a reprieve."
One NBC affiliate, KPRC-TV in Houston, dropped Late Night with Conan O'Brien in September 1994 due to low ratings and was replaced with first-run episodes of The Jenny Jones Show. KPRC reinstated O'Brien's Late Night in the fall of 1996, but scheduled it to air as late as 2:40 a.m. while the station, in addition to The Jenny Jones Show, had aired Extra, Access Hollywood, Ricki Lake, Montel Williams, Inside Edition and a rebroadcast of its 10:00 p.m. newscast between Leno and O'Brien. Houston became the subject of a skit (via classic remote piece) in which O'Brien made impromptu stops at Houston's central bus terminal and the Astrodome to watch an episode of his own show with Houstonians in 1997. KPRC began airing Late Night with Conan O'Brien directly following The Tonight Show with Jay Leno in 2004.
According to O'Brien, NBC network executive Warren Littlefield told him, with regard to Andy Richter, he'd "never succeed until I 'got rid of that big fat dildo.' That was the tone of the conversations between us and the network." It was widely expected that the host of Talk Soup, Greg Kinnear would take over the role, but Kinnear turned down the opportunity. (Kinnear would instead become host of Late Nights then-lead-out program, Later, in February 1994, remaining there for two years before deciding to pursue an acting career.) Stars like Tom Hanks agreed to appear on Late Night, which boosted audience awareness. Even Letterman, who admired O'Brien's comic sensibility, appeared as a guest to register his support. O'Brien's performance style improved through experience, and he began to receive more favorable reviews and ratings the following year. With the ratings gradually improving over the course of two years, Late Night reached a new level of critical and commercial success in 1996. Tom Shales officially recanted his previous critical review with the headline "I was wrong", and O'Brien received his first Emmy nomination for writing, which he received every year until 2011.
1996–2000
In 2000, Richter left Late Night on good terms, to pursue his acting career, a move that emotionally affected O'Brien, as evidenced by Richter's last show. The show's comedy bits and banter had usually depended on O'Brien's interaction with Richter. O'Brien's wacky non-sequitur comedy became more pronounced as he played all of his comedy and commentary directly to the audience and Max Weinberg instead of towards Richter.
2001–2009
In 2002, when time came to renew his contract, O'Brien had notable offers from other networks to defect; Fox was reported to have made particularly strong overtures, pitching him an 11:00 p.m. show. O'Brien decided to re-sign with NBC, however, joking that he initially wanted to make a 13-week deal (a nod to his first contract). He ultimately signed through 2005, indicating that it was symbolic of surpassing Letterman's run with 12 years of hosting.
In 2003, O'Brien's own production company, Conaco, was added as a producer of Late Night. The show celebrated its 10th anniversary, another milestone that O'Brien said he wanted to achieve with his 2002 contract. During the anniversary show, Mr. T handed O'Brien a chain with a large gold "7" on it.
O'Brien's last season on Late Night attracted an average of 1.98 million viewers, compared to 1.92 million viewers for The Late Late Show with Craig Ferguson.
US television ratings (late night talk shows)
Format
Humor
The show was known for its wacky and absurd sophomoric comedic sensibility that is edgier than most other talk shows. Like his Late Night predecessor, David Letterman, the show's humor also had a streak of biting sarcasm and irony. According to Robert Smigel, who served as head writer in 1993, the show's comedic approach was to focus on being different from David Letterman:
Typically O'Brien would play the 'straight man' role to the general absurdity of the comedy, treating the material or wacky nature of the sketches with sincerity. The show had an unusual quantity of comedy and original content rather than other talk shows such as Late Show with David Letterman or The Tonight Show with Jay Leno that relied heavily on recurring segments and 'found' humor. The show was particularly unique in the lack of 'found' humor to derive content from i.e. most content being scripted as opposed to Letterman's Small Town News or Jay Leno's headlines that used this "found humor". O'Brien would often playfully chide his audience for an underwhelming or overly enthusiastic response to his jokes.
Particularly in the early years, comedic sketches overtook all segments on the show, occasionally even interrupting guest interviews and O'Brien's monologue. Frequently sketches would randomly begin without introduction, such as during banter between Richter and O'Brien. A lot of the humor had a fantasy-like quality to it, where inanimate objects would talk or silly characters would disrupt the show. Sometimes a short story would emerge in these sketches with a resolution culminating in a song.
One recurring technique is to superimpose lips onto an existing image, as in the Syncro-Vox limited animation technique, resulting in the speaker saying things often quite out of character.
Although Late Night used political humor, it did so far less frequently than competing shows did. During the 1996 and 2000 presidential election seasons, Late Night was found to be the least politically-oriented late night program. It averaged 310 political jokes per election season, in contrast to the Leno-led Tonight Show with 1,275.
(See List of Late Night with Conan O'Brien sketches for an extensive list)
The Max Weinberg 7
The show's house band was The Max Weinberg 7, led by drummer Max Weinberg. The other six members were Mark Pender on trumpet, Richie "LaBamba" Rosenberg on trombone, Mike Merritt on bass, Jerry Vivino on saxophone and brother Jimmy Vivino on guitar, and Scott Healy on keyboards. Weinberg sometimes took extended leaves of absence to tour with Bruce Springsteen as the drummer for the E Street Band. During his absence, James Wormworth would typically fill in on drums, and the band was led by Vivino under the name Jimmy Vivino and the Max Weinberg 7.
With the departure of Andy Richter from Late Night in May 2000, Max Weinberg assumed a bigger role as an interlocutor for O'Brien's jokes. One common running gag was Max's awkwardness on camera and his apparent lack of chemistry with Conan. Weinberg was often used in sketches as well, which usually revolved around his purported sexual deviance (mostly a penchant for bedding barely legal groupies), although long-running sketches also spoofed Max's lack of knowledge of current affairs.
"LaBamba" was also used as the butt of many of Conan's jokes. These humorous sketches usually revolved around LaBamba's sizeable mustache, his poor acting skills, and his alleged inability to read written music. Mark Pender would often sing songs on the topic of a current event which ended with him screeching uncontrollably and climbing the risers into the audience. All members of the 7 have had successful side careers as studio musicians.
Theme song and other music
The show's opening theme was co-written by composer Howard Shore and John Lurie (of the band The Lounge Lizards). Lurie would later say that he was contracted by Shore to write the theme, and after he turned in the piece, Shore made minimal changes and claimed an unwarranted co-writing credit. Lurie also claimed to have been a finalist for Late Night'''s band leader position, but said producers told him, "Conan thinks you’re funnier than him and that scares him."
As is common in the talk show format, the Max Weinberg 7 performed the show's opening and closing themes, played bumpers into and out of commercial breaks (they actually played through the entire break for the studio audience), and a short piece during O'Brien's crossover to his desk after his monologue. The show's closing theme was called "Cornell Knowledge", and was lifted from Jerry and Jimmy Vivino's first album together. However, on Late Night, it was played at a much quicker tempo than the album version. The band also played a wide variety of songs as bumpers coming to and from commercial breaks and introducing guests—usually popular music from a variety of eras.
Joel Godard
Joel Godard, a long-time announcer for NBC shows, was the program's announcer and a frequent comedy contributor. On the show's final episode, Conan noted that Godard was originally hired to simply announce the show's intro and claimed "nobody thought you'd ever see him", however he was gradually worked into the show's comedy pieces. These bits usually revolved around Godard's supposed homosexual fetishes, deviant sexual habits, substance abuse, and suicidal tendencies. The humor came in part from Godard's delivery. No matter how depressing or deviant the topic being discussed was, he always did so in an exaggeratedly cheerful voice and with a huge smile plastered on his face. Several sketches ended with Godard apparently committing suicide in his announcer's booth.
When Andy Richter left the show in 2000, Joel Godard became more common among sketches.
Writing staff
In the first few seasons of the show, the writing staff consisted of several now-prolific comics including Robert Smigel as the head writer, Bob Odenkirk, Louis C.K., Tommy Blacha and Dino Stamatopoulos. Smigel left his position as head writer of the show in 1995 to pen several movies but continued to appear on the show to do bits as Triumph the Insult Comic Dog and the 'Satellite Interviews'. Jonathan Groff took over his position until replaced by Mike Sweeney in 2001.
Members of the show's writing staff frequently appeared in sketches on the show. Among the most prolific were: Brian McCann (Preparation H Raymond, FedEx Pope, The Loser, Airsick Moth, Jerry Butters, Awesome Dave, Funhole Guy, Bulletproof Legs Guy, Adrian "Raisin" Foster, S&M Lincoln, etc.), Brian Stack (Hannigan the Traveling Salesman, Artie Kendall the Ghost Crooner, The Interrupter, Kilty McBagpipes, Fan-tastic Guy, Clive Clemmons, Frankenstein, Ira, Slipnut Brian, etc.), Jon Glaser (Segue Sam, Pubes, Awareness Del, Wrist Hulk, Ahole Ronald, Gorton's Fisherman, Jeremy, Slipnut Jon, etc.), Kevin Dorff (Coked-up Werewolf, Jesus Christ, Mansy the half-man/half-pansy, Joe's Bartender, Todd the Tiny Guy, etc.), and Andy Blitz (Awful Ballgame Chanter, Vin Diesel's brother Leonard Diesel, Slipnut Andy, Chuck Aloo aka the star of the 24 spin-off series 60). Blitz went so far as to travel to India for one bit in which he carried his computer through the streets of India to get technical support firsthand from the telephone representative at NBC's technical help center.
Several writing staff interns have gone on to become noted actors or writers including Vanessa Bayer, John Krasinski, Mindy Kaling, Ellie Kemper and Jack McBrayer.
Sketch actors and cameo appearancesLate Night employed a number of sketch actors, many of whom were frequently reused in different roles in different episodes. Several years before joining the cast of Saturday Night Live, and for playing the role of Leslie Knope on another NBC TV show, Parks and Recreation, Amy Poehler often appeared as a regular in many sketches, though she was best remembered for playing the recurring role of Andy Richter's Conan-obsessed teenage sister, Stacy. Other notable comedians such as Jack McBrayer, Rob Riggle, Rob Corddry, H. Jon Benjamin, Ellie Kemper, Bobby Moynihan, Matt Besser, Ian Roberts, Matt Walsh and Andrew Daly also frequently appeared as sketch actors on the show for several years. Triumph the Insult Comic Dog (created and voiced by original head writer Robert Smigel) began as part of a sketch on Late Night. Celebrities such as Dr. Joyce Brothers, Nipsey Russell, Abe Vigoda, James Lipton, Bob Saget and William Preston as the character Carl 'Oldy' Olsen also made frequent cameo appearances in comedy sketches on the show at different periods. One of the show's graphic designers, Pierre Bernard, was featured in several sketches, such as "Pierre Bernard's Recliner of Rage" and "Nerding It Up For Pierre".
Celebrity guests of the night would also occasionally appear in sketches either during their interviews or during the earlier comedy segments, e.g. in "In the year 2000" (which always included the participation of a celebrity guest after Andy Richter left the show) or a sketch where Conan would pretend to write in his diary while an attractive female guest was there. Quite rare for a talk show, sometimes interviews began normally but turned into sketches with both the guest and Conan participating, usually when the guest was a "friend of the show."
Costumed characters
Unusual for a late night talk show, Late Night made frequent use of various costumed characters such as The Masturbating Bear, Robot on a Toilet, and Pimpbot 5000. The humor in these sketches often derived from the crude construction of the characters' costumes as well as the absurdist nature of their conceptions. For example, Pimpbot 5000 was a 1950s-style robot who dressed and acted in the manner of an exaggerated blaxploitation pimp, while The Masturbating Bear was a man in a bear costume wearing an oversized diaper who would invariably begin to fondle himself to the tune of Aram Khachaturian's "Sabre Dance" when brought on stage. Many of these characters did little more in their appearances than walk across the stage or be wheeled out from behind the curtain, but some had extensive sketches on the show.
Appearances in other shows
The show made a cameo appearance in the Sesame Street special Elmopalooza, where Conan was interviewing two aliens while Big Bird was passing by them carrying a video tape.
The show also made an appearance on The Simpsons in the episode "Bart Gets Famous", where Conan interviews a now famous Bart.
ProductionLate Night was a production of Lorne Michaels's Broadway Video (and, since 2003, O'Brien's Conaco). It was taped in Studio 6A in the GE Building at 30 Rockefeller Plaza in New York City. Next to the door were framed pictures of Letterman, Carson, Jack Paar and Steve Allen, each of whose groundbreaking late-night shows originated from studio 6A or 6B (where The Tonight Show Starring Jimmy Fallon is currently taped). The studio holds just over 200 audience members. It was taped at about 5:30 pm as an uninterrupted hour-long program, with the band playing music through the portions that would be filled by commercials. Generally, shows were taped at 5:30 pm Monday through Friday, although for much of the show's run, reruns would be aired on Mondays and the show would not tape that day.
The show's format consisted of an opening monologue from O'Brien, followed by various "desk bits". These generally included several brief sketches, recurring segments, or some other form of comedy. Typically O'Brien would play the 'straight man' role to the general absurdity of the comedy, treating the material or wacky nature of the sketches with sincerity. In the show's second and fourth segments, O'Brien interviewed two celebrity guests, between which, in the third segment, O'Brien listed the next night's/week's guests. There was often a comedy bit as well during this segment. The show's fifth segment was usually reserved for a musical or stand-up comedy performance, or occasionally another guest interview. The show's final segment was usually a quick "goodnight" and the closing credits, which sometimes featured part of a bit from earlier in the show. Quite rare for a talkshow, frequently comedy segments would also spill into the interviews, typically when a guest was a 'friend'of the show.
During the live tapings, and prior to the show, there was an audience warm-up, during which the audience watched a montage of highlights from the show, and staff writer Brian McCann greeted the audience (this task was formerly undertaken by head writer Mike Sweeney). McCann delivered a few jokes, told the audience what to expect, and finally introduced the band and then O'Brien. O'Brien then thanked the audience for coming, meeting as many audience members as he could. He would often then do a musical number with the band to pump up the audience (Burning Love was one standard). After the show was finished taping, O'Brien sang the "End of the Show Song", which never aired on Late Night, although in February 2009, a short video of it was posted on Late Night Underground. The End of the Show Song finally did reach air on January 21, 2010, his penultimate show as Tonight Show host. It also was aired on the March 29, 2012 episode of Conan. The tradition of singing The End of the Show Song has continued, un-aired as usual, on Conan.
BroadcastLate Night began broadcasting in 1080i ATSC on April 26, 2005, with a downscaled letterboxed NTSC simulcast (unlike The Tonight Show, whose NTSC simulcast is fullscreen). O'Brien celebrated the conversion to the widescreen HDTV format with jokes throughout the week.
On December 6, 2005 Late Night with Conan O'Brien segments began selling on the iTunes Store. Most segments were priced at $1.99, as were most episodes of other shows, with "special" best-ofs and other longer segments priced at $9.99. In December, 2007 NBC stopped selling all its television shows on iTunes, but the network returned it to iTunes in September 2008 after NBC and Apple worked out a new agreement. The show was offered free at Hulu.com and the NBC website but has been unavailable on the Internet since the 2010 Tonight Show conflict. However, in May 2018, O'Brien and his current network, TBS, announced they would partner with NBC to make his entire Late Night archives available online, marking the 25th anniversary of O'Brien's late night debut.
Special episodes
Remote pieces and episodes shot on location
Remote pieces shot on location were a recurring staple on Late Night, but occasionally, entire episodes were shot on location, usually during sweeps months. The first vacation for the show was a week-long stint of shows in Los Angeles the week of November 9–12, 1999. This was the only location week for the show while Andy Richter was with the show, and the only time the show's theme was altered for the week, with a more surf-style version of the show's normal theme (though the Toronto shows ended the normal theme with a piece of "O Canada"). The show was broadcast from NBC's L.A. studios (NBC Studios Burbank) and an L.A.-themed set was built, very similar in layout to the New York set.
From February 10–13, 2004, Late Night broadcast from the Elgin Theatre in Toronto, Canada. The guests for these episodes were all Canadians (with the exception of Adam Sandler), and included such stars as Jim Carrey and Mike Myers. As the show was taped at a theater, unlike the trip to L.A., the set built was not like the show's standard set.
From May 9–12, 2006, the show made a similar venture to the Chicago Theatre in Chicago, Illinois, taking cues from their previous trip to Toronto. Between April 30 – May 4, 2007, the show originated from the Orpheum Theatre in San Francisco.
In a sketch called "Conan O'Brien Hates My Homeland", Conan mocked every nation in the world to see which ones he gets letters from. An announcer on the Finnish entertainment channel SubTV, which airs the show a couple of days after it is aired in the US, asked people to defend Finland before Conan got to insult it, and the viewers in Finland began sending mail before the bit had even gotten to the letter F. Conan responded by assuming the Finnish "just couldn't wait" to be insulted and officially insulted Finland in the segment. An overwhelming number of postcards were supposedly received, which apparently "forced" Conan to give Finland a formal apology. Conan then went as far as to have the flag of Finland shown in the background during a speech and slandered the Finns' "hated" neighbor Sweden with a sign saying "Sweden Sucks!" printed over the flag of Sweden. It would seem that this chain of events led to elevated ratings in Finland and subsequently also sparked a special relationship with the viewers in Finland. Later when Conan was talking to audience members before the show, a group of fans visiting from Finland commented that he resembled their female president Tarja Halonen. Conan mentioned the resemblance on his show, even showing pictures of Halonen next to himself. When he discovered that Halonen was up for reelection he began making satirical commercials in support of Halonen and vowed to travel to Finland to meet her if she won re-election. When she did indeed win re-election in January 2006, Conan traveled to Finland and met with her. One episode, broadcast on March 10, 2006, was compiled mainly of footage from O'Brien's trip to Finland. In the episode, Conan greeted fans at the airport, participated in a Sami cultural ceremony, appeared on a Finnish talk show, and attempted to visit a fan who had written to him. The episode was not strictly taped as a live episode there, however, but was prefaced by an introduction by O'Brien taped in New York. The Finland episode came as the culmination of a long-running joke on the show.
Aside from location shows, the show also did special one-shots in its early years. In 1995, one episode of the show was taped aboard a New York City ferry in New York Harbor. Dubbed "The Show on a Boat" by the showtunes-style song-and-dance number performed by a trio of "sailors" at the start of the show, O'Brien, Richter, the band and guests were all crammed onto the deck of the ferry. The show was taped at its normal afternoon time, while it was still light out.
Technical and production difficulties
A more unexpected shoot occurred on October 10, 1996, when a five-alarm fire in Rockefeller Plaza rendered the 6A studios out of commission for the remainder of that week. The fire occurred on early Thursday morning, which left O'Brien's staff precious little time to assemble a show elsewhere. Pressed for time as 12:35 approached, O'Brien taped the show outside, after dark, despite the cold weather, on a makeshift set with the Prometheus statue and 30 Rock serving as a backdrop. Furthering the unfortunate nature of the evening's circumstances was the final guest, Julie Scardina, who brought along wild animals, including birds that Conan explained had to be kept tied up, as they could not be freed outside. Earlier in the show, O'Brien and Richter walked into Brookstone (located in the lobby of Rockefeller Center), camera crew in tow, and bought a massaging leather recliner for the first guest, Samuel L. Jackson. The second of the two "fire shows", on Friday night, was taped in the Today Show studio, which was not affected by the fire.
During the Northeast Blackout of 2003, O'Brien and the staff taped a short 10-minute introduction explaining that the episode they had planned would not be taking place due to the blackout. Studio 6A was powered by a generator and lit by battery-powered floodlights. A standby show was aired in-progress after the intro. One of the scheduled guests that night, The Dandy Warhols, commandeered the studio's green room, where they stayed until they performed on the show the next night.
Gimmick episodes
Other shows that were taped in the regular 6A studio were augmented by special gimmicks:
A lot of high-concept gimmick episodes were done in the early years of the show, such as a 1994 episode literally done in a giant hole, a 1995 show done entirely on a boat of the circle line or "Time Travel Week", four episodes from early 1996, where Conan and Andy (and the rest of the crew) "time-traveled" to a different point in time each night. Times and locations included The Civil War, Ancient Greece, The future, and The early '80s (featuring a cameo by David Letterman in the cold open, who occupied Conan's studio in 1983, cruelly brushing off Conan and Andy's attempt at explaining their presence in Letterman's dressing room by saying, "Why don't you two fellas go find a nice, warm place to screw yourselves? Security!").
In 1997, a special episode was taped in which the studio audience was composed solely of grade-school age children, primarily 5–10 years of age. Conan interacted with the children, encouraging them to laugh and cheer to keep away the boredom monster.
The February 19, 1998 episode was aired against coverage of the 1998 Winter Olympics on CBS, and therefore, Conan assumed no one was watching, and they could do anything. He and Andy took to performing increasingly outrageous acts, such as Conan revealing a Hanson T-shirt under his shirt and tie, and confessing his hatred for the NBC screen bug, going as far as to kill it with a can of Raid. He and Andy also smoked on the air (with a cutaway showing a mother finding her two kids imitating Conan), Max Weinberg confessed to killing Bruce Springsteen's previous drummer, as well as a number of other people he didn't like (even showing a map of where he buried them), Al Roker walked into the studio and confessed he never liked the weather, and Conan asked a female audience member to have consensual sex with him, which the woman vehemently refused. The event became known as "Nobody's Watching".
The October 18, 2002 episode was re-shot entirely in clay animation nearly seven months after its first airing, including the opening credits and commercial bumpers. The episode's originally broadcast soundtrack was retained while the visuals were reproduced to mirror the original footage in a small-scale reproduction of the studio 6A.
On October 31, 2006, a similarly conceptualized Halloween episode was created from an episode which originally aired in May and featured Larry King, among other guests. Using a process the show called "Skelevision", all the visuals were re-shot with a Halloween motif, with human skeletons adorned with the clothing and accessories of the humans. This re-shoot was shot using the actual studio, and the puppeteers moved the skeletons with wires and cables while being visually obscured by green screen technology. Once again, the opening and bumpers were altered, this time including a model of a hearse winding through a foggy landscape and cemetery, and the voice of Bill Hader as Vincent Price in place of Joel Godard.
U2 exclusive
The October 5, 2005 episode of Late Night was devoted entirely to the band U2, marking the first time in the show's then 13-year run that it had devoted an entire show to a single guest. Jim Pitt, the talent executive in charge of booking acts for the show, remarked that in his 12 years of working for Late Night, U2 and Johnny Cash were the "dream artists" he'd tried, but never succeeded in getting. The band performed three songs, two more than the customary one song, then had a lengthy interview with Conan.
Episodes during the 2007–2008 writer's strike
After two months of being off-air, the first show to air during the 2007–2008 Writers Guild of America strike on January 2, 2008 featured a small musical segment at the beginning of the show detailing O'Brien's newly grown beard in a show of support for the striking writers. At the beginning of the January 28 episode, it was revealed that Conan had shaved his beard, which was followed with a similar musical segment.
Several times during the episodes produced during the writer's strike, O'Brien would kill time by spinning his wedding ring on his desk, which he previously only did during rehearsals. His personal best was 41 seconds, achieved during an un-aired rehearsal. After several unsuccessful on-air attempts to break his record, during the show originally broadcast on February 9, 2008, O'Brien broke his record for endurance ring spinning, setting a time of 51 seconds by coating his wedding ring with Vaseline and spinning it on a Teflon surface. The feat was accomplished with the help of MIT physics professor Peter Fisher. These episodes are considered by most fans to be the magnum opus of O'Brien's television career, considering the spontaneity of each episode. The strike also gave rise to associate producer Jordan Schlansky's repeated appearances on the show as an embellished version of himself.
"Feud" with Jon Stewart and Stephen Colbert
Early on in the later half of the 2007–2008 Writer's Guild strike, Conan O'Brien accused his show of being the sole cause of presidential candidate Mike Huckabee's status in the polls, due to his use of the Walker, Texas Ranger Lever while Chuck Norris was coincidentally sponsoring Huckabee. Stephen Colbert made the claim that because of "the Colbert bump," he was responsible for Huckabee's current success in the 2008 presidential race. O'Brien claimed that he was responsible for Colbert's success because he had made mention of him on his show. In response, Jon Stewart, host of The Daily Show, claimed that he was responsible for the success of O'Brien, and in turn the success of Huckabee and Colbert. This resulted in a three-part comedic battle among the three hosts, with all three appearing on each other's shows. The feud ended on Late Night with an all-out mock brawl between the three talk-show hosts.
Anniversary episodes
In 1996, a third anniversary episode was taped, though it aired in the regular 12:35/11:35 late night time slot. The show was composed of clips of the best of the first three years, and featured cameos from many former guests, including Janeane Garofalo, Scott Thompson, Tony Randall and George Wendt. Typical of O'Brien's style of comedy, he introduced his first guest (Wendt) by listing his notable achievements in television (particularly Cheers) then introduced each subsequent guest by repeatedly listing Wendt's achievements (insinuating that all of his guests for that night's show played the role of Norm on Cheers). In 1998, Late Night aired a fifth anniversary special in prime time, mostly consisting of clips from the first five years. It was taped in the Saturday Night Live studio, also in the GE Building. The special was later sold on VHS tape. In 2003, a similar tenth anniversary special was taped in New York City's famed Beacon Theatre and later made available on DVD.
The final episodeLate Night with Conan O'Briens last episode was recorded February 20, 2009, and aired shortly after midnight that next morning. The episode featured clips from past shows and a reflection on the show's sixteen-year-long run. John Mayer sent a farewell video message, singing a song about how Los Angeles is "going to eat [Conan] alive." In a short remote piece, Conan released regular contributor Abe Vigoda "into the wild," as he could not bring him to Los Angeles for the move to The Tonight Show. Will Ferrell made a surprise visit as George W. Bush, which quickly devolved into Ferrell tearing off his business suit to reveal an ill-fitting green leprechaun outfit that had been worn in a number of previous appearances on the show.
Former sidekick Andy Richter, who re-joined O'Brien when he took over The Tonight Show in June, joined O'Brien onstage for two segments, watching clips and reminiscing about the show. Among the clips shown, O'Brien noted that his all-time favorite Late Night piece was when he attended a re-enactment of an American Civil War-era baseball game, played at a Long Island, New York museum, Old Bethpage Village Restoration. During the course of the final week, O'Brien began violently dismantling and handing out pieces of the production set to the audience. In the final show, a large piece of the stage's frame was pulled down and chopped into pieces. O'Brien then promised to give each audience member in attendance a piece of the set.
One of Conan's favorite bands, The White Stripes, performed a new, slower arrangement of their song "We're Going to Be Friends" based on Conan's lullaby rendition of the song, with drummer Meg White playing second guitar and singing along with vocalist/guitarist Jack White. The performance proved to be the band's last before their breakup in February 2011. The program concluded with a visibly emotional O'Brien giving a farewell speech from behind his desk, thanking his fans, writers, producers, backstage crew, his family, the Max Weinberg 7, David Letterman, Joel Godard, Jay Leno, and Lorne Michaels, as well as a final assurance that he would not "grow up" as he moved to The Tonight Show.
About 3.4 million viewers watched O'Brien's final episode of Late Night, the largest audience since the January 24, 2005 episode that followed Jay Leno's tribute to Johnny Carson.
After the end of the series, Studio 6A at Rockefeller Center was remodeled for The Dr. Oz Show. In the summer of 2013, NBC moved Late Night with Jimmy Fallon to Studio 6A while 6B, which housed Late Night since Fallon succeeded O'Brien in 2009, was being renovated when Fallon took over The Tonight Show on February 17, 2014 while The Dr. Oz Show moved to ABC's Upper West Side studios.
Awards and nominations
Set design
O'Brien's Late Night had three longterm permanent sets, but retained the basic structure used when Letterman occupied Studio 6A: the performance space at the viewer's left, and the desk area, to the viewer's right, where interviews were done. O'Brien did his monologue in the performance area, emerging at the start of each episode from the area where musical guests perform. The Max Weinberg 7 were in the corner made by the stage-right wall and the wall in front of the audience. The desk area had a desk for O'Brien, a chair and couch(es) to the viewer's left for guests (and originally Andy Richter), and a coffee table.
Primarily, set changes involved the background behind the desk and chair and couch. The original set, used from the show's debut in 1993 until the fall of 1996, was primarily yellow, and the desk background resembled the living room of a New York City apartment, with windows that looked out at a Manhattan backdrop. For years afterwards, O'Brien mocked this original set, particularly its "mustard color". The two subsequent set designs featured darker blues and violets to emulate the feel of nighttime, with the final set featuring a balcony railing in front of a backdrop with the view from the top of Rockefeller Center. This set debuted on September 4, 2001 and necessitated changes almost instantly as its backdrop view of New York City contained the World Trade Center, which was destroyed a week later. A special curtain was used to obstruct the towers temporarily, until eventually the curtain became a permanent part of the set design even after the backdrop was altered. During his final week of episodes, Conan took an axe to parts of the set, giving it out to audience members as souvenirs, not wanting to allow it to simply be thrown away.
International broadcasts
CNBC Europe used to air Late Night with Conan O'Brien on weeknights from 11:45 pm–12:30 am CET, with weekend editions on Saturdays and Sundays at 9:45 pm–10:30 pm CET. However, in March 2007, CNBC Europe decided to show only the weekend editions, and drop the weeknight editions, to make way for more business news programmes in their weeknight schedules.
On the week of August 4, 2008, however, CNBC Europe has discontinued showing the NBC Nightly News, which for many years was shown live from America in a 12:30 am–1:00 am CET slot. Late Night with Conan O'Brien has now replaced NBC Nightly News in the 12:30 am–1:00 am slot. The weeknight editions are a 30-minute condensed version of the show. The show follows the weeknight condensed version of The Tonight Show with Jay Leno which airs at 12:00 am CET.
In September 2008, CNBC Europe changed the weeknight schedules to include full uncut editions of Late Night with Conan O'Brien broadcast in the 11:45 am CET/10:45 pm GMT 45-minute time slot. This schedule usually runs from Tuesdays to Fridays. CNBC Europe decided to stop broadcasting Late Night as of January 1, 2009, a mere two months before Conan's last show as host. Instead of following The Tonight Show reruns on weekends, CNBC now broadcasts two Tonight Show episodes in a row.
See also
List of Late Night with Conan O'Brien sketches
List of Late Night with Conan O'Brien characters
List of Late Night with Conan O'Brien episodes
Pale Force
The Tonight Show with Conan O'Brien''
List of late night network TV programs
References
Further reading
External links
Joseph Konopka scenic art journals for Late Night with Conan O'Brien, 1993-2009, held by the Billy Rose Theatre Division, New York Public Library for the Performing Arts
1993 American television series debuts
2009 American television series endings
1990s American late-night television series
2000s American late-night television series
1990s American television talk shows
2000s American television talk shows
CNBC Europe original programming
English-language television shows
O'Brien, Conan
NBC original programming
Primetime Emmy Award-winning television series
Television series by Universal Television
Television shows set in New York City
American television shows featuring puppetry
Conan O'Brien
Television series by Broadway Video
Television series by Conaco
Television shows filmed in New York City
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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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"Late Night with Conan O'Brien",
"Debut",
"When did it debut?",
"O'Brien's Late Night debuted on September 13, 1993,",
"Are there any other interesting aspects about this article?",
"The premiere episode featured John Goodman (who received a \"First Guest\" medal for his appearance"
] |
C_ea8e70b3e3d140daa522df55051a5411_1
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How did the public take to this show?
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How did the public take to Late Night with Conan O'Brien?
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Late Night with Conan O'Brien
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O'Brien's Late Night debuted on September 13, 1993, with Andy Richter chosen as O'Brien's sidekick. The premiere episode featured John Goodman (who received a "First Guest" medal for his appearance), Drew Barrymore, and Tony Randall. The episode featured a cold open of O'Brien's walk to the studio with constant reminders that he was expected to live up to Letterman, parodying a popular sentiment expressed in the media at the time. After seeming to be unaffected by the comments, O'Brien arrives at his dressing room and cheerfully prepares to hang himself. However, a warning that the show is about to start causes him to abandon his plans. O'Brien's inexperience was apparent and the show was generally considered mediocre by critics in terms of the host's ability. The Chicago Sun-Times' Lon Grankhe called O'Brien "nervous, unprepared and generally geeky" and Tom Shales wrote "As for O'Brien, the young man is a living collage of annoying nervous habits. He giggles and titters, jiggles about and fiddles with his cuffs. He has dark, beady little eyes like a rabbit. He's one of the whitest white men ever." (O'Brien wrote for The New York Times a satirical review of the first episode the day it aired titled "O'Brien Flops!", in which he told readers "Frankly, I was not impressed".) The originality and quality of the comedy, however, led by original head writer Robert Smigel, was widely praised. Although O'Brien benefited by comparison from the quick critical and commercial failure of the fellow new late-night The Chevy Chase Show, NBC only offered short-term contracts, 13 weeks at a time and once for six weeks, as widely reported by the press at the time. O'Brien was reportedly almost fired at least once in this period, but NBC had no one to replace him. According to Smigel, "We were basically canceled at Conan, and then they changed their minds in August of '94, gave us a reprieve." According to O'Brien a network executive told him, in regards to Andy Richter, he'd "never succeed until I 'got rid of that big fat dildo.' That was the tone of the conversations between us and the network." It was widely expected that the host of Talk Soup, Greg Kinnear would take over the role, but Kinnear turned down the opportunity and decided to pursue a career in acting. Stars like Tom Hanks agreed to appear on Late Night, which boosted audience awareness. Even Letterman, who admired O'Brien's comic sensibility, appeared as a guest to register his support. O'Brien's performance style improved through experience and he began to receive more favorable reviews and ratings the following year. With the ratings gradually improving over the course of two years, Late Night reached a new level of critical and commercial success in 1996. Tom Shales officially recanted his previous critical review with the headline "I was wrong", and O'Brien received his first Emmy writing nomination, which he has gone on to receive every year since. CANNOTANSWER
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O'Brien's inexperience was apparent and the show was generally considered mediocre by critics in terms of the host's ability.
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Late Night with Conan O'Brien is an American late-night talk show hosted by Conan O'Brien that aired 2,725 episodes on NBC from September 13, 1993 to February 20, 2009. The show featured varied comedic material, celebrity interviews, and musical and comedy performances. Late Night aired weeknights at 12:37 am Eastern/11:37 pm Central and 12:37 am Mountain in the United States. From 1993 until 2000, Andy Richter served as O'Brien's sidekick; following his departure, O'Brien was the show's sole featured performer. The show's house musical act was The Max Weinberg 7, led by E Street Band drummer Max Weinberg.
The second incarnation of NBC's Late Night franchise, O'Brien's program debuted in 1993 after David Letterman (who hosted the first incarnation of Late Night) moved to CBS to host Late Show opposite The Tonight Show. In 2004, as part of a deal to secure a new contract, NBC announced that O'Brien would leave Late Night in 2009 to succeed Jay Leno as the host of The Tonight Show. Jimmy Fallon began hosting his version of Late Night on March 2, 2009.
History
Replacing David Letterman
Upon Johnny Carson's retirement from The Tonight Show in 1992, executives at NBC announced that Carson's frequent guest-host Jay Leno would be Carson's replacement, and not David Letterman. NBC later said that Letterman's high ratings for Late Night were the reason they kept him where he was. Letterman was bitterly disappointed and angry at not having been given The Tonight Show job; and, at Carson's advice, he left NBC after eleven years on Late Night. CBS signed Letterman to host his own show opposite The Tonight Show. Letterman moved his show to CBS virtually unchanged, taking most of the staff, skits, and comedy formats with him. However, NBC owned the rights to the Late Night name, forcing Letterman to rename his show Late Show with David Letterman.
NBC was not prepared to replace both Letterman and Late Night. Aside from the name, it needed to build a new show. Both Dana Carvey and Garry Shandling declined to host it. Saturday Night Live producer Lorne Michaels was brought in to develop the new show, and comedians Jon Stewart, Drew Carey, and Paul Provenza auditioned to host. Michaels suggested to Conan O'Brien, an unknown writer for The Simpsons and former writer for Saturday Night Live, that he should audition for the job. Despite having "about 40 seconds" of television-performance experience as an occasional extra on Saturday Night Live sketches, O'Brien auditioned for the show on April 13, 1993. His guests were Jason Alexander and Mimi Rogers, and the audition took place on the set of The Tonight Show with Jay Leno. NBC offered the show to O'Brien on April 26, and O'Brien made his first meaningful television appearance later that day when Leno introduced him on Tonight. On the final episode of his 16-year run, O'Brien stated that he "owed his career to Lorne Michaels."
Debut
O'Brien's Late Night debuted on September 13, 1993, with Andy Richter chosen as O'Brien's sidekick. The premiere episode featured John Goodman, who received a "First Guest" medal for his appearance, Drew Barrymore, and Tony Randall. The episode featured a cold open of O'Brien's walk to the studio with constant reminders that he was expected to live up to Letterman; meanwhile, Tom Brokaw makes a cameo. After seeming to be unaffected by the comments, O'Brien arrives at his dressing room and cheerfully prepares to hang himself. However, a warning that the show is about to start causes him to abandon his plans.
The show's first musical guest was English rock band Radiohead, who performed during the second episode. American singer-songwriter Jonathan Richman was the show's second musical guest.
O'Brien's inexperience was apparent, and the show was generally considered mediocre by critics in terms of hosting. The Chicago Sun-Times Lon Grankhe called O'Brien "nervous, unprepared and generally geeky", and Tom Shales wrote "As for O'Brien, the young man is a living collage of annoying nervous habits. He giggles and titters, jiggles about and fiddles with his cuffs. He has dark, beady little eyes like a rabbit. He's one of the whitest white men ever." (O'Brien wrote for The New York Times a satirical review of the first episode the day it aired titled "O'Brien Flops!", in which he told readers "Frankly, I was not impressed".) The originality and quality of the comedy, however, led by original head writer Robert Smigel, was widely praised. Although O'Brien benefited by comparison from the quick critical and commercial failure of the fellow new late-night The Chevy Chase Show, NBC only offered short-term contracts, 13 weeks at a time and once for six weeks, as widely reported by the press at the time. O'Brien was reportedly almost fired at least once in this period, but NBC had no one to replace him. According to Smigel, "We were basically canceled at Conan, and then they changed their minds in August of '94, gave us a reprieve."
One NBC affiliate, KPRC-TV in Houston, dropped Late Night with Conan O'Brien in September 1994 due to low ratings and was replaced with first-run episodes of The Jenny Jones Show. KPRC reinstated O'Brien's Late Night in the fall of 1996, but scheduled it to air as late as 2:40 a.m. while the station, in addition to The Jenny Jones Show, had aired Extra, Access Hollywood, Ricki Lake, Montel Williams, Inside Edition and a rebroadcast of its 10:00 p.m. newscast between Leno and O'Brien. Houston became the subject of a skit (via classic remote piece) in which O'Brien made impromptu stops at Houston's central bus terminal and the Astrodome to watch an episode of his own show with Houstonians in 1997. KPRC began airing Late Night with Conan O'Brien directly following The Tonight Show with Jay Leno in 2004.
According to O'Brien, NBC network executive Warren Littlefield told him, with regard to Andy Richter, he'd "never succeed until I 'got rid of that big fat dildo.' That was the tone of the conversations between us and the network." It was widely expected that the host of Talk Soup, Greg Kinnear would take over the role, but Kinnear turned down the opportunity. (Kinnear would instead become host of Late Nights then-lead-out program, Later, in February 1994, remaining there for two years before deciding to pursue an acting career.) Stars like Tom Hanks agreed to appear on Late Night, which boosted audience awareness. Even Letterman, who admired O'Brien's comic sensibility, appeared as a guest to register his support. O'Brien's performance style improved through experience, and he began to receive more favorable reviews and ratings the following year. With the ratings gradually improving over the course of two years, Late Night reached a new level of critical and commercial success in 1996. Tom Shales officially recanted his previous critical review with the headline "I was wrong", and O'Brien received his first Emmy nomination for writing, which he received every year until 2011.
1996–2000
In 2000, Richter left Late Night on good terms, to pursue his acting career, a move that emotionally affected O'Brien, as evidenced by Richter's last show. The show's comedy bits and banter had usually depended on O'Brien's interaction with Richter. O'Brien's wacky non-sequitur comedy became more pronounced as he played all of his comedy and commentary directly to the audience and Max Weinberg instead of towards Richter.
2001–2009
In 2002, when time came to renew his contract, O'Brien had notable offers from other networks to defect; Fox was reported to have made particularly strong overtures, pitching him an 11:00 p.m. show. O'Brien decided to re-sign with NBC, however, joking that he initially wanted to make a 13-week deal (a nod to his first contract). He ultimately signed through 2005, indicating that it was symbolic of surpassing Letterman's run with 12 years of hosting.
In 2003, O'Brien's own production company, Conaco, was added as a producer of Late Night. The show celebrated its 10th anniversary, another milestone that O'Brien said he wanted to achieve with his 2002 contract. During the anniversary show, Mr. T handed O'Brien a chain with a large gold "7" on it.
O'Brien's last season on Late Night attracted an average of 1.98 million viewers, compared to 1.92 million viewers for The Late Late Show with Craig Ferguson.
US television ratings (late night talk shows)
Format
Humor
The show was known for its wacky and absurd sophomoric comedic sensibility that is edgier than most other talk shows. Like his Late Night predecessor, David Letterman, the show's humor also had a streak of biting sarcasm and irony. According to Robert Smigel, who served as head writer in 1993, the show's comedic approach was to focus on being different from David Letterman:
Typically O'Brien would play the 'straight man' role to the general absurdity of the comedy, treating the material or wacky nature of the sketches with sincerity. The show had an unusual quantity of comedy and original content rather than other talk shows such as Late Show with David Letterman or The Tonight Show with Jay Leno that relied heavily on recurring segments and 'found' humor. The show was particularly unique in the lack of 'found' humor to derive content from i.e. most content being scripted as opposed to Letterman's Small Town News or Jay Leno's headlines that used this "found humor". O'Brien would often playfully chide his audience for an underwhelming or overly enthusiastic response to his jokes.
Particularly in the early years, comedic sketches overtook all segments on the show, occasionally even interrupting guest interviews and O'Brien's monologue. Frequently sketches would randomly begin without introduction, such as during banter between Richter and O'Brien. A lot of the humor had a fantasy-like quality to it, where inanimate objects would talk or silly characters would disrupt the show. Sometimes a short story would emerge in these sketches with a resolution culminating in a song.
One recurring technique is to superimpose lips onto an existing image, as in the Syncro-Vox limited animation technique, resulting in the speaker saying things often quite out of character.
Although Late Night used political humor, it did so far less frequently than competing shows did. During the 1996 and 2000 presidential election seasons, Late Night was found to be the least politically-oriented late night program. It averaged 310 political jokes per election season, in contrast to the Leno-led Tonight Show with 1,275.
(See List of Late Night with Conan O'Brien sketches for an extensive list)
The Max Weinberg 7
The show's house band was The Max Weinberg 7, led by drummer Max Weinberg. The other six members were Mark Pender on trumpet, Richie "LaBamba" Rosenberg on trombone, Mike Merritt on bass, Jerry Vivino on saxophone and brother Jimmy Vivino on guitar, and Scott Healy on keyboards. Weinberg sometimes took extended leaves of absence to tour with Bruce Springsteen as the drummer for the E Street Band. During his absence, James Wormworth would typically fill in on drums, and the band was led by Vivino under the name Jimmy Vivino and the Max Weinberg 7.
With the departure of Andy Richter from Late Night in May 2000, Max Weinberg assumed a bigger role as an interlocutor for O'Brien's jokes. One common running gag was Max's awkwardness on camera and his apparent lack of chemistry with Conan. Weinberg was often used in sketches as well, which usually revolved around his purported sexual deviance (mostly a penchant for bedding barely legal groupies), although long-running sketches also spoofed Max's lack of knowledge of current affairs.
"LaBamba" was also used as the butt of many of Conan's jokes. These humorous sketches usually revolved around LaBamba's sizeable mustache, his poor acting skills, and his alleged inability to read written music. Mark Pender would often sing songs on the topic of a current event which ended with him screeching uncontrollably and climbing the risers into the audience. All members of the 7 have had successful side careers as studio musicians.
Theme song and other music
The show's opening theme was co-written by composer Howard Shore and John Lurie (of the band The Lounge Lizards). Lurie would later say that he was contracted by Shore to write the theme, and after he turned in the piece, Shore made minimal changes and claimed an unwarranted co-writing credit. Lurie also claimed to have been a finalist for Late Night'''s band leader position, but said producers told him, "Conan thinks you’re funnier than him and that scares him."
As is common in the talk show format, the Max Weinberg 7 performed the show's opening and closing themes, played bumpers into and out of commercial breaks (they actually played through the entire break for the studio audience), and a short piece during O'Brien's crossover to his desk after his monologue. The show's closing theme was called "Cornell Knowledge", and was lifted from Jerry and Jimmy Vivino's first album together. However, on Late Night, it was played at a much quicker tempo than the album version. The band also played a wide variety of songs as bumpers coming to and from commercial breaks and introducing guests—usually popular music from a variety of eras.
Joel Godard
Joel Godard, a long-time announcer for NBC shows, was the program's announcer and a frequent comedy contributor. On the show's final episode, Conan noted that Godard was originally hired to simply announce the show's intro and claimed "nobody thought you'd ever see him", however he was gradually worked into the show's comedy pieces. These bits usually revolved around Godard's supposed homosexual fetishes, deviant sexual habits, substance abuse, and suicidal tendencies. The humor came in part from Godard's delivery. No matter how depressing or deviant the topic being discussed was, he always did so in an exaggeratedly cheerful voice and with a huge smile plastered on his face. Several sketches ended with Godard apparently committing suicide in his announcer's booth.
When Andy Richter left the show in 2000, Joel Godard became more common among sketches.
Writing staff
In the first few seasons of the show, the writing staff consisted of several now-prolific comics including Robert Smigel as the head writer, Bob Odenkirk, Louis C.K., Tommy Blacha and Dino Stamatopoulos. Smigel left his position as head writer of the show in 1995 to pen several movies but continued to appear on the show to do bits as Triumph the Insult Comic Dog and the 'Satellite Interviews'. Jonathan Groff took over his position until replaced by Mike Sweeney in 2001.
Members of the show's writing staff frequently appeared in sketches on the show. Among the most prolific were: Brian McCann (Preparation H Raymond, FedEx Pope, The Loser, Airsick Moth, Jerry Butters, Awesome Dave, Funhole Guy, Bulletproof Legs Guy, Adrian "Raisin" Foster, S&M Lincoln, etc.), Brian Stack (Hannigan the Traveling Salesman, Artie Kendall the Ghost Crooner, The Interrupter, Kilty McBagpipes, Fan-tastic Guy, Clive Clemmons, Frankenstein, Ira, Slipnut Brian, etc.), Jon Glaser (Segue Sam, Pubes, Awareness Del, Wrist Hulk, Ahole Ronald, Gorton's Fisherman, Jeremy, Slipnut Jon, etc.), Kevin Dorff (Coked-up Werewolf, Jesus Christ, Mansy the half-man/half-pansy, Joe's Bartender, Todd the Tiny Guy, etc.), and Andy Blitz (Awful Ballgame Chanter, Vin Diesel's brother Leonard Diesel, Slipnut Andy, Chuck Aloo aka the star of the 24 spin-off series 60). Blitz went so far as to travel to India for one bit in which he carried his computer through the streets of India to get technical support firsthand from the telephone representative at NBC's technical help center.
Several writing staff interns have gone on to become noted actors or writers including Vanessa Bayer, John Krasinski, Mindy Kaling, Ellie Kemper and Jack McBrayer.
Sketch actors and cameo appearancesLate Night employed a number of sketch actors, many of whom were frequently reused in different roles in different episodes. Several years before joining the cast of Saturday Night Live, and for playing the role of Leslie Knope on another NBC TV show, Parks and Recreation, Amy Poehler often appeared as a regular in many sketches, though she was best remembered for playing the recurring role of Andy Richter's Conan-obsessed teenage sister, Stacy. Other notable comedians such as Jack McBrayer, Rob Riggle, Rob Corddry, H. Jon Benjamin, Ellie Kemper, Bobby Moynihan, Matt Besser, Ian Roberts, Matt Walsh and Andrew Daly also frequently appeared as sketch actors on the show for several years. Triumph the Insult Comic Dog (created and voiced by original head writer Robert Smigel) began as part of a sketch on Late Night. Celebrities such as Dr. Joyce Brothers, Nipsey Russell, Abe Vigoda, James Lipton, Bob Saget and William Preston as the character Carl 'Oldy' Olsen also made frequent cameo appearances in comedy sketches on the show at different periods. One of the show's graphic designers, Pierre Bernard, was featured in several sketches, such as "Pierre Bernard's Recliner of Rage" and "Nerding It Up For Pierre".
Celebrity guests of the night would also occasionally appear in sketches either during their interviews or during the earlier comedy segments, e.g. in "In the year 2000" (which always included the participation of a celebrity guest after Andy Richter left the show) or a sketch where Conan would pretend to write in his diary while an attractive female guest was there. Quite rare for a talk show, sometimes interviews began normally but turned into sketches with both the guest and Conan participating, usually when the guest was a "friend of the show."
Costumed characters
Unusual for a late night talk show, Late Night made frequent use of various costumed characters such as The Masturbating Bear, Robot on a Toilet, and Pimpbot 5000. The humor in these sketches often derived from the crude construction of the characters' costumes as well as the absurdist nature of their conceptions. For example, Pimpbot 5000 was a 1950s-style robot who dressed and acted in the manner of an exaggerated blaxploitation pimp, while The Masturbating Bear was a man in a bear costume wearing an oversized diaper who would invariably begin to fondle himself to the tune of Aram Khachaturian's "Sabre Dance" when brought on stage. Many of these characters did little more in their appearances than walk across the stage or be wheeled out from behind the curtain, but some had extensive sketches on the show.
Appearances in other shows
The show made a cameo appearance in the Sesame Street special Elmopalooza, where Conan was interviewing two aliens while Big Bird was passing by them carrying a video tape.
The show also made an appearance on The Simpsons in the episode "Bart Gets Famous", where Conan interviews a now famous Bart.
ProductionLate Night was a production of Lorne Michaels's Broadway Video (and, since 2003, O'Brien's Conaco). It was taped in Studio 6A in the GE Building at 30 Rockefeller Plaza in New York City. Next to the door were framed pictures of Letterman, Carson, Jack Paar and Steve Allen, each of whose groundbreaking late-night shows originated from studio 6A or 6B (where The Tonight Show Starring Jimmy Fallon is currently taped). The studio holds just over 200 audience members. It was taped at about 5:30 pm as an uninterrupted hour-long program, with the band playing music through the portions that would be filled by commercials. Generally, shows were taped at 5:30 pm Monday through Friday, although for much of the show's run, reruns would be aired on Mondays and the show would not tape that day.
The show's format consisted of an opening monologue from O'Brien, followed by various "desk bits". These generally included several brief sketches, recurring segments, or some other form of comedy. Typically O'Brien would play the 'straight man' role to the general absurdity of the comedy, treating the material or wacky nature of the sketches with sincerity. In the show's second and fourth segments, O'Brien interviewed two celebrity guests, between which, in the third segment, O'Brien listed the next night's/week's guests. There was often a comedy bit as well during this segment. The show's fifth segment was usually reserved for a musical or stand-up comedy performance, or occasionally another guest interview. The show's final segment was usually a quick "goodnight" and the closing credits, which sometimes featured part of a bit from earlier in the show. Quite rare for a talkshow, frequently comedy segments would also spill into the interviews, typically when a guest was a 'friend'of the show.
During the live tapings, and prior to the show, there was an audience warm-up, during which the audience watched a montage of highlights from the show, and staff writer Brian McCann greeted the audience (this task was formerly undertaken by head writer Mike Sweeney). McCann delivered a few jokes, told the audience what to expect, and finally introduced the band and then O'Brien. O'Brien then thanked the audience for coming, meeting as many audience members as he could. He would often then do a musical number with the band to pump up the audience (Burning Love was one standard). After the show was finished taping, O'Brien sang the "End of the Show Song", which never aired on Late Night, although in February 2009, a short video of it was posted on Late Night Underground. The End of the Show Song finally did reach air on January 21, 2010, his penultimate show as Tonight Show host. It also was aired on the March 29, 2012 episode of Conan. The tradition of singing The End of the Show Song has continued, un-aired as usual, on Conan.
BroadcastLate Night began broadcasting in 1080i ATSC on April 26, 2005, with a downscaled letterboxed NTSC simulcast (unlike The Tonight Show, whose NTSC simulcast is fullscreen). O'Brien celebrated the conversion to the widescreen HDTV format with jokes throughout the week.
On December 6, 2005 Late Night with Conan O'Brien segments began selling on the iTunes Store. Most segments were priced at $1.99, as were most episodes of other shows, with "special" best-ofs and other longer segments priced at $9.99. In December, 2007 NBC stopped selling all its television shows on iTunes, but the network returned it to iTunes in September 2008 after NBC and Apple worked out a new agreement. The show was offered free at Hulu.com and the NBC website but has been unavailable on the Internet since the 2010 Tonight Show conflict. However, in May 2018, O'Brien and his current network, TBS, announced they would partner with NBC to make his entire Late Night archives available online, marking the 25th anniversary of O'Brien's late night debut.
Special episodes
Remote pieces and episodes shot on location
Remote pieces shot on location were a recurring staple on Late Night, but occasionally, entire episodes were shot on location, usually during sweeps months. The first vacation for the show was a week-long stint of shows in Los Angeles the week of November 9–12, 1999. This was the only location week for the show while Andy Richter was with the show, and the only time the show's theme was altered for the week, with a more surf-style version of the show's normal theme (though the Toronto shows ended the normal theme with a piece of "O Canada"). The show was broadcast from NBC's L.A. studios (NBC Studios Burbank) and an L.A.-themed set was built, very similar in layout to the New York set.
From February 10–13, 2004, Late Night broadcast from the Elgin Theatre in Toronto, Canada. The guests for these episodes were all Canadians (with the exception of Adam Sandler), and included such stars as Jim Carrey and Mike Myers. As the show was taped at a theater, unlike the trip to L.A., the set built was not like the show's standard set.
From May 9–12, 2006, the show made a similar venture to the Chicago Theatre in Chicago, Illinois, taking cues from their previous trip to Toronto. Between April 30 – May 4, 2007, the show originated from the Orpheum Theatre in San Francisco.
In a sketch called "Conan O'Brien Hates My Homeland", Conan mocked every nation in the world to see which ones he gets letters from. An announcer on the Finnish entertainment channel SubTV, which airs the show a couple of days after it is aired in the US, asked people to defend Finland before Conan got to insult it, and the viewers in Finland began sending mail before the bit had even gotten to the letter F. Conan responded by assuming the Finnish "just couldn't wait" to be insulted and officially insulted Finland in the segment. An overwhelming number of postcards were supposedly received, which apparently "forced" Conan to give Finland a formal apology. Conan then went as far as to have the flag of Finland shown in the background during a speech and slandered the Finns' "hated" neighbor Sweden with a sign saying "Sweden Sucks!" printed over the flag of Sweden. It would seem that this chain of events led to elevated ratings in Finland and subsequently also sparked a special relationship with the viewers in Finland. Later when Conan was talking to audience members before the show, a group of fans visiting from Finland commented that he resembled their female president Tarja Halonen. Conan mentioned the resemblance on his show, even showing pictures of Halonen next to himself. When he discovered that Halonen was up for reelection he began making satirical commercials in support of Halonen and vowed to travel to Finland to meet her if she won re-election. When she did indeed win re-election in January 2006, Conan traveled to Finland and met with her. One episode, broadcast on March 10, 2006, was compiled mainly of footage from O'Brien's trip to Finland. In the episode, Conan greeted fans at the airport, participated in a Sami cultural ceremony, appeared on a Finnish talk show, and attempted to visit a fan who had written to him. The episode was not strictly taped as a live episode there, however, but was prefaced by an introduction by O'Brien taped in New York. The Finland episode came as the culmination of a long-running joke on the show.
Aside from location shows, the show also did special one-shots in its early years. In 1995, one episode of the show was taped aboard a New York City ferry in New York Harbor. Dubbed "The Show on a Boat" by the showtunes-style song-and-dance number performed by a trio of "sailors" at the start of the show, O'Brien, Richter, the band and guests were all crammed onto the deck of the ferry. The show was taped at its normal afternoon time, while it was still light out.
Technical and production difficulties
A more unexpected shoot occurred on October 10, 1996, when a five-alarm fire in Rockefeller Plaza rendered the 6A studios out of commission for the remainder of that week. The fire occurred on early Thursday morning, which left O'Brien's staff precious little time to assemble a show elsewhere. Pressed for time as 12:35 approached, O'Brien taped the show outside, after dark, despite the cold weather, on a makeshift set with the Prometheus statue and 30 Rock serving as a backdrop. Furthering the unfortunate nature of the evening's circumstances was the final guest, Julie Scardina, who brought along wild animals, including birds that Conan explained had to be kept tied up, as they could not be freed outside. Earlier in the show, O'Brien and Richter walked into Brookstone (located in the lobby of Rockefeller Center), camera crew in tow, and bought a massaging leather recliner for the first guest, Samuel L. Jackson. The second of the two "fire shows", on Friday night, was taped in the Today Show studio, which was not affected by the fire.
During the Northeast Blackout of 2003, O'Brien and the staff taped a short 10-minute introduction explaining that the episode they had planned would not be taking place due to the blackout. Studio 6A was powered by a generator and lit by battery-powered floodlights. A standby show was aired in-progress after the intro. One of the scheduled guests that night, The Dandy Warhols, commandeered the studio's green room, where they stayed until they performed on the show the next night.
Gimmick episodes
Other shows that were taped in the regular 6A studio were augmented by special gimmicks:
A lot of high-concept gimmick episodes were done in the early years of the show, such as a 1994 episode literally done in a giant hole, a 1995 show done entirely on a boat of the circle line or "Time Travel Week", four episodes from early 1996, where Conan and Andy (and the rest of the crew) "time-traveled" to a different point in time each night. Times and locations included The Civil War, Ancient Greece, The future, and The early '80s (featuring a cameo by David Letterman in the cold open, who occupied Conan's studio in 1983, cruelly brushing off Conan and Andy's attempt at explaining their presence in Letterman's dressing room by saying, "Why don't you two fellas go find a nice, warm place to screw yourselves? Security!").
In 1997, a special episode was taped in which the studio audience was composed solely of grade-school age children, primarily 5–10 years of age. Conan interacted with the children, encouraging them to laugh and cheer to keep away the boredom monster.
The February 19, 1998 episode was aired against coverage of the 1998 Winter Olympics on CBS, and therefore, Conan assumed no one was watching, and they could do anything. He and Andy took to performing increasingly outrageous acts, such as Conan revealing a Hanson T-shirt under his shirt and tie, and confessing his hatred for the NBC screen bug, going as far as to kill it with a can of Raid. He and Andy also smoked on the air (with a cutaway showing a mother finding her two kids imitating Conan), Max Weinberg confessed to killing Bruce Springsteen's previous drummer, as well as a number of other people he didn't like (even showing a map of where he buried them), Al Roker walked into the studio and confessed he never liked the weather, and Conan asked a female audience member to have consensual sex with him, which the woman vehemently refused. The event became known as "Nobody's Watching".
The October 18, 2002 episode was re-shot entirely in clay animation nearly seven months after its first airing, including the opening credits and commercial bumpers. The episode's originally broadcast soundtrack was retained while the visuals were reproduced to mirror the original footage in a small-scale reproduction of the studio 6A.
On October 31, 2006, a similarly conceptualized Halloween episode was created from an episode which originally aired in May and featured Larry King, among other guests. Using a process the show called "Skelevision", all the visuals were re-shot with a Halloween motif, with human skeletons adorned with the clothing and accessories of the humans. This re-shoot was shot using the actual studio, and the puppeteers moved the skeletons with wires and cables while being visually obscured by green screen technology. Once again, the opening and bumpers were altered, this time including a model of a hearse winding through a foggy landscape and cemetery, and the voice of Bill Hader as Vincent Price in place of Joel Godard.
U2 exclusive
The October 5, 2005 episode of Late Night was devoted entirely to the band U2, marking the first time in the show's then 13-year run that it had devoted an entire show to a single guest. Jim Pitt, the talent executive in charge of booking acts for the show, remarked that in his 12 years of working for Late Night, U2 and Johnny Cash were the "dream artists" he'd tried, but never succeeded in getting. The band performed three songs, two more than the customary one song, then had a lengthy interview with Conan.
Episodes during the 2007–2008 writer's strike
After two months of being off-air, the first show to air during the 2007–2008 Writers Guild of America strike on January 2, 2008 featured a small musical segment at the beginning of the show detailing O'Brien's newly grown beard in a show of support for the striking writers. At the beginning of the January 28 episode, it was revealed that Conan had shaved his beard, which was followed with a similar musical segment.
Several times during the episodes produced during the writer's strike, O'Brien would kill time by spinning his wedding ring on his desk, which he previously only did during rehearsals. His personal best was 41 seconds, achieved during an un-aired rehearsal. After several unsuccessful on-air attempts to break his record, during the show originally broadcast on February 9, 2008, O'Brien broke his record for endurance ring spinning, setting a time of 51 seconds by coating his wedding ring with Vaseline and spinning it on a Teflon surface. The feat was accomplished with the help of MIT physics professor Peter Fisher. These episodes are considered by most fans to be the magnum opus of O'Brien's television career, considering the spontaneity of each episode. The strike also gave rise to associate producer Jordan Schlansky's repeated appearances on the show as an embellished version of himself.
"Feud" with Jon Stewart and Stephen Colbert
Early on in the later half of the 2007–2008 Writer's Guild strike, Conan O'Brien accused his show of being the sole cause of presidential candidate Mike Huckabee's status in the polls, due to his use of the Walker, Texas Ranger Lever while Chuck Norris was coincidentally sponsoring Huckabee. Stephen Colbert made the claim that because of "the Colbert bump," he was responsible for Huckabee's current success in the 2008 presidential race. O'Brien claimed that he was responsible for Colbert's success because he had made mention of him on his show. In response, Jon Stewart, host of The Daily Show, claimed that he was responsible for the success of O'Brien, and in turn the success of Huckabee and Colbert. This resulted in a three-part comedic battle among the three hosts, with all three appearing on each other's shows. The feud ended on Late Night with an all-out mock brawl between the three talk-show hosts.
Anniversary episodes
In 1996, a third anniversary episode was taped, though it aired in the regular 12:35/11:35 late night time slot. The show was composed of clips of the best of the first three years, and featured cameos from many former guests, including Janeane Garofalo, Scott Thompson, Tony Randall and George Wendt. Typical of O'Brien's style of comedy, he introduced his first guest (Wendt) by listing his notable achievements in television (particularly Cheers) then introduced each subsequent guest by repeatedly listing Wendt's achievements (insinuating that all of his guests for that night's show played the role of Norm on Cheers). In 1998, Late Night aired a fifth anniversary special in prime time, mostly consisting of clips from the first five years. It was taped in the Saturday Night Live studio, also in the GE Building. The special was later sold on VHS tape. In 2003, a similar tenth anniversary special was taped in New York City's famed Beacon Theatre and later made available on DVD.
The final episodeLate Night with Conan O'Briens last episode was recorded February 20, 2009, and aired shortly after midnight that next morning. The episode featured clips from past shows and a reflection on the show's sixteen-year-long run. John Mayer sent a farewell video message, singing a song about how Los Angeles is "going to eat [Conan] alive." In a short remote piece, Conan released regular contributor Abe Vigoda "into the wild," as he could not bring him to Los Angeles for the move to The Tonight Show. Will Ferrell made a surprise visit as George W. Bush, which quickly devolved into Ferrell tearing off his business suit to reveal an ill-fitting green leprechaun outfit that had been worn in a number of previous appearances on the show.
Former sidekick Andy Richter, who re-joined O'Brien when he took over The Tonight Show in June, joined O'Brien onstage for two segments, watching clips and reminiscing about the show. Among the clips shown, O'Brien noted that his all-time favorite Late Night piece was when he attended a re-enactment of an American Civil War-era baseball game, played at a Long Island, New York museum, Old Bethpage Village Restoration. During the course of the final week, O'Brien began violently dismantling and handing out pieces of the production set to the audience. In the final show, a large piece of the stage's frame was pulled down and chopped into pieces. O'Brien then promised to give each audience member in attendance a piece of the set.
One of Conan's favorite bands, The White Stripes, performed a new, slower arrangement of their song "We're Going to Be Friends" based on Conan's lullaby rendition of the song, with drummer Meg White playing second guitar and singing along with vocalist/guitarist Jack White. The performance proved to be the band's last before their breakup in February 2011. The program concluded with a visibly emotional O'Brien giving a farewell speech from behind his desk, thanking his fans, writers, producers, backstage crew, his family, the Max Weinberg 7, David Letterman, Joel Godard, Jay Leno, and Lorne Michaels, as well as a final assurance that he would not "grow up" as he moved to The Tonight Show.
About 3.4 million viewers watched O'Brien's final episode of Late Night, the largest audience since the January 24, 2005 episode that followed Jay Leno's tribute to Johnny Carson.
After the end of the series, Studio 6A at Rockefeller Center was remodeled for The Dr. Oz Show. In the summer of 2013, NBC moved Late Night with Jimmy Fallon to Studio 6A while 6B, which housed Late Night since Fallon succeeded O'Brien in 2009, was being renovated when Fallon took over The Tonight Show on February 17, 2014 while The Dr. Oz Show moved to ABC's Upper West Side studios.
Awards and nominations
Set design
O'Brien's Late Night had three longterm permanent sets, but retained the basic structure used when Letterman occupied Studio 6A: the performance space at the viewer's left, and the desk area, to the viewer's right, where interviews were done. O'Brien did his monologue in the performance area, emerging at the start of each episode from the area where musical guests perform. The Max Weinberg 7 were in the corner made by the stage-right wall and the wall in front of the audience. The desk area had a desk for O'Brien, a chair and couch(es) to the viewer's left for guests (and originally Andy Richter), and a coffee table.
Primarily, set changes involved the background behind the desk and chair and couch. The original set, used from the show's debut in 1993 until the fall of 1996, was primarily yellow, and the desk background resembled the living room of a New York City apartment, with windows that looked out at a Manhattan backdrop. For years afterwards, O'Brien mocked this original set, particularly its "mustard color". The two subsequent set designs featured darker blues and violets to emulate the feel of nighttime, with the final set featuring a balcony railing in front of a backdrop with the view from the top of Rockefeller Center. This set debuted on September 4, 2001 and necessitated changes almost instantly as its backdrop view of New York City contained the World Trade Center, which was destroyed a week later. A special curtain was used to obstruct the towers temporarily, until eventually the curtain became a permanent part of the set design even after the backdrop was altered. During his final week of episodes, Conan took an axe to parts of the set, giving it out to audience members as souvenirs, not wanting to allow it to simply be thrown away.
International broadcasts
CNBC Europe used to air Late Night with Conan O'Brien on weeknights from 11:45 pm–12:30 am CET, with weekend editions on Saturdays and Sundays at 9:45 pm–10:30 pm CET. However, in March 2007, CNBC Europe decided to show only the weekend editions, and drop the weeknight editions, to make way for more business news programmes in their weeknight schedules.
On the week of August 4, 2008, however, CNBC Europe has discontinued showing the NBC Nightly News, which for many years was shown live from America in a 12:30 am–1:00 am CET slot. Late Night with Conan O'Brien has now replaced NBC Nightly News in the 12:30 am–1:00 am slot. The weeknight editions are a 30-minute condensed version of the show. The show follows the weeknight condensed version of The Tonight Show with Jay Leno which airs at 12:00 am CET.
In September 2008, CNBC Europe changed the weeknight schedules to include full uncut editions of Late Night with Conan O'Brien broadcast in the 11:45 am CET/10:45 pm GMT 45-minute time slot. This schedule usually runs from Tuesdays to Fridays. CNBC Europe decided to stop broadcasting Late Night as of January 1, 2009, a mere two months before Conan's last show as host. Instead of following The Tonight Show reruns on weekends, CNBC now broadcasts two Tonight Show episodes in a row.
See also
List of Late Night with Conan O'Brien sketches
List of Late Night with Conan O'Brien characters
List of Late Night with Conan O'Brien episodes
Pale Force
The Tonight Show with Conan O'Brien''
List of late night network TV programs
References
Further reading
External links
Joseph Konopka scenic art journals for Late Night with Conan O'Brien, 1993-2009, held by the Billy Rose Theatre Division, New York Public Library for the Performing Arts
1993 American television series debuts
2009 American television series endings
1990s American late-night television series
2000s American late-night television series
1990s American television talk shows
2000s American television talk shows
CNBC Europe original programming
English-language television shows
O'Brien, Conan
NBC original programming
Primetime Emmy Award-winning television series
Television series by Universal Television
Television shows set in New York City
American television shows featuring puppetry
Conan O'Brien
Television series by Broadway Video
Television series by Conaco
Television shows filmed in New York City
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"I'm a Celebrity...Get Me Out of Here! returned for its tenth series on 14 November 2010. It ran for 3 weeks. Ant & Dec returned as the presenters for the main show, and its spin off show Get Me out of Here... Now returned, with Caroline Flack and Joe Swash as main presenters. On 4 December 2010, singer Stacey Solomon won the show.\n\nCelebrities\nOn 10 November, ITV officially confirmed the 10 celebrities taking part. Dom Joly, Gail Porter and Alison Hammond, initially reported to be joining the show, were not on the list, but Joly and Hammond were later reported to be in Australia on standby for a possible late entry to the show. Playboy model Kayla Collins has been added to the list to complete the lineup.\n\nAt the beginning of the series the contestants were divided into separate camps, Camp Bruce (males) and Camp Sheila (females). The contestants entered the jungle either by skydiving into camp or paddling in on canoes. Those facing a watery entrance had to canoe across a lake before crawling through a damp and dark tunnel. The first five-part trial \"Terrovision\" rewarded the winners with one last night of luxury and punished the losers with a premature entrance into the jungle. The first four tasks earned the winning team one point each, the fifth and final task deciding which group makes their way into the bush.\n\nGillian McKeith became the second contestant in the history of the show to refuse a task (Kerry Katona was the 1st as she refused her trial in series 3) As the contestant for the task is chosen by a public vote using a premium rate phone number, ITV must refund anyone who asks the cost of their telephone vote.\n\nDom Joly and Jenny Eclair entered the jungle on 18 November, with more celebrities to enter the show later in the series. Alison Hammond was revealed as the 13th contestant to enter the jungle on Day 6 in I'm a Celeb NOW! she arrived in the jungle in a crate, but the others did not know who was inside.\n\nResults and elimination\n\n Indicates that the celebrity was immune from the vote\n Indicates that the celebrity received the most votes from the public\n Indicates that the celebrity received the fewest votes and was immediately eliminated (no bottom two)\n Indicates that the celebrity was in the bottom two\n Indicates that the celebrity received the second fewest votes and were not named in the bottom two\n\nNotes\n In order to win immunity from the first public vote all the celebrities took part in a task called \"Kangaroo Court\". The two losers from each round would then go to Jungle Jail (located in camp), in the end the celebrities left in jail at the end of the task would face the first public vote.\n Alison and Kayla were made to do a trial to decide who was eliminated. However, the trial came to a draw and both refused to take part in the final section. To break the tie, the elimination was decided based on the votes, which meant that Alison was eliminated.\n The public were voting for who they wanted to win rather than to save.\n\nThe Camps\nFor the first three days of the show, the group of celebrities were split between two camps: \"Camp Bruce\" (the boys), and \"Camp Sheila\" (the girls). The celebrities in each group were:\n Camp Bruce: Aggro, Lembit, Linford, Nigel, Shaun\n Camp Sheila: Britt, Gillian, Kayla, Sheryl, Stacey\n\nBoth camps were supposed to be as good as each other, although there were some differences between the camps. Camp Sheila contained a pink and white recliner, a picture of a shirtless man holding a baby and the beds were pink. Camp Bruce contained a black leather recliner, a picture of a woman scratching her bottom in tennis clothes and the beds were blue, Camp Bruce also was slightly bigger.\n\nOn 18 November 2010, the two camps merged. The celebrities in the Camp Sheila moved into the Camp Bruce, as it was bigger.\n\nBushtucker trials\nThe contestants take part in daily trials to earn food\n\n The public voted for who they wanted to face the trial\n The contestants decided who did which trial\n The trial was compulsory and neither the public nor celebrities decided who took part\n\nNotes\n The celebrities were split up into two camps (Camp Bruce for Boys and Camp Sheila for Girls), the winners (the Girls) spent their first night of the show in luxury and the losers (the Boys) spent their first night of the show in a makeshift camp.\n Britt, Gillian and Nigel were excluded from this trial on medical grounds.\n Alison was excluded because she was new to the camp.\n Gillian was allowed to bring someone to help her in this trial; she chose Sheryl.\n Gillian was the second celebrity ever to not attempt a Bushtucker Trial, after Kerry Katona in Season Three\n Gillian was originally selected to do the trial, but she fake-fainted and was unable to start it, she received 56.15% of the vote to do the trial.\n Britt, Gillian and Alison were excluded from this trial on medical grounds.\n Britt was excluded from this trial on medical grounds.\n This trial decided who would leave camp and not how camp would be fed. When the trial ended in a draw with both refusing to face the tie-breaker, the public vote was used to decide.\n This trial previously was meant to be done by Gillian on Day 8, although she refused to take part.\n For the first time ever all celebrities took part in the trial to earn their final meal as a three.\n The final trial was the same trial that Dean Gaffney took part in on Series 6.\n The two remaining celebrities were allowed to choose any meal they wanted from anywhere, although it came with a price, the price was that they would have to take part in the final live trial.\n If Shaun refused to take part in any part of the trial Lembit would be punished and if Stacey refused to take part in any part of the trial Dom would be punished, although Shaun and Stacey did not refuse any part of the trial meaning Dom and Lembit were not punished.\n\nStar count\n\nRatings \nOfficial ratings are taken from the Broadcasters' Audience Research Board.\n\nReferences\n\nExternal links\n \n\n2010 British television seasons\n10",
"Richard Hammond's 5 O'Clock Show was a television programme shown every weekday on the British channel ITV from 3 January until 10 February 2006. The show was presented by Richard Hammond and Mel Giedroyc, and featured a variety of reports on popular and unusual topics. They talked about things that matter to the public, and tested claims like \"an unstainable suit\" or \"unbreakable crockery\". The show was first aired in 2006 replacing The Paul O'Grady Show, which had moved to Channel 4.\n\nRegular slots\nMothers of Invention - Mother inventors compete to win help from a business guru who will help them to make their invention a success.\nJourney to the Centre of Britain - Richard attempts to find the exact location of the centre of Britain.\nYou're Having a Laugh - Stand-up comedy from everyday people who think they are funny. Each person has 1 minute on stage to try out their comedy.\nGone to a Good Home - To solve the problem of unwanted Christmas gifts the idea of this slot is to leave an unwanted gift on your doorstep so that someone else may take it away.\nMartin's Money Tips - Martin Lewis gives tips to the public on how to save money.\nExpert complainer Jasper Griegson gives tips to the audience on how to complain to get what they want from companies.\nThe show also regularly interviewed the contestants and judges of Dancing on Ice. \nThe flatpack challenge with Darius, ferret racing with Sara Cox, operatic football chants with Russell Watson and a performance by the \"Billy Elliot\" of cheerleading.\n\nRegular competitions\nThe first competition featured a phone in question worth £1000, then the winner would have to identify an extreme close up of a photo for an additional maximum of £2000.\nIt was then changed to only a phone in general knowledge question worth £2000.\nAnother competition was made in which the public could bid for the prize and the bid which was so low and solo won. This meant that the lowest unique bid was the winner.\n\nExternal links \n \n\n2006 British television series debuts\n2006 British television series endings\nITV (TV network) original programming"
] |
[
"Late Night with Conan O'Brien",
"Debut",
"When did it debut?",
"O'Brien's Late Night debuted on September 13, 1993,",
"Are there any other interesting aspects about this article?",
"The premiere episode featured John Goodman (who received a \"First Guest\" medal for his appearance",
"How did the public take to this show?",
"O'Brien's inexperience was apparent and the show was generally considered mediocre by critics in terms of the host's ability."
] |
C_ea8e70b3e3d140daa522df55051a5411_1
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Did it have any notable actors?
| 4 |
Did Late Night with Conan O'Brien have any notable actors?
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Late Night with Conan O'Brien
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O'Brien's Late Night debuted on September 13, 1993, with Andy Richter chosen as O'Brien's sidekick. The premiere episode featured John Goodman (who received a "First Guest" medal for his appearance), Drew Barrymore, and Tony Randall. The episode featured a cold open of O'Brien's walk to the studio with constant reminders that he was expected to live up to Letterman, parodying a popular sentiment expressed in the media at the time. After seeming to be unaffected by the comments, O'Brien arrives at his dressing room and cheerfully prepares to hang himself. However, a warning that the show is about to start causes him to abandon his plans. O'Brien's inexperience was apparent and the show was generally considered mediocre by critics in terms of the host's ability. The Chicago Sun-Times' Lon Grankhe called O'Brien "nervous, unprepared and generally geeky" and Tom Shales wrote "As for O'Brien, the young man is a living collage of annoying nervous habits. He giggles and titters, jiggles about and fiddles with his cuffs. He has dark, beady little eyes like a rabbit. He's one of the whitest white men ever." (O'Brien wrote for The New York Times a satirical review of the first episode the day it aired titled "O'Brien Flops!", in which he told readers "Frankly, I was not impressed".) The originality and quality of the comedy, however, led by original head writer Robert Smigel, was widely praised. Although O'Brien benefited by comparison from the quick critical and commercial failure of the fellow new late-night The Chevy Chase Show, NBC only offered short-term contracts, 13 weeks at a time and once for six weeks, as widely reported by the press at the time. O'Brien was reportedly almost fired at least once in this period, but NBC had no one to replace him. According to Smigel, "We were basically canceled at Conan, and then they changed their minds in August of '94, gave us a reprieve." According to O'Brien a network executive told him, in regards to Andy Richter, he'd "never succeed until I 'got rid of that big fat dildo.' That was the tone of the conversations between us and the network." It was widely expected that the host of Talk Soup, Greg Kinnear would take over the role, but Kinnear turned down the opportunity and decided to pursue a career in acting. Stars like Tom Hanks agreed to appear on Late Night, which boosted audience awareness. Even Letterman, who admired O'Brien's comic sensibility, appeared as a guest to register his support. O'Brien's performance style improved through experience and he began to receive more favorable reviews and ratings the following year. With the ratings gradually improving over the course of two years, Late Night reached a new level of critical and commercial success in 1996. Tom Shales officially recanted his previous critical review with the headline "I was wrong", and O'Brien received his first Emmy writing nomination, which he has gone on to receive every year since. CANNOTANSWER
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Drew Barrymore, and Tony Randall.
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Late Night with Conan O'Brien is an American late-night talk show hosted by Conan O'Brien that aired 2,725 episodes on NBC from September 13, 1993 to February 20, 2009. The show featured varied comedic material, celebrity interviews, and musical and comedy performances. Late Night aired weeknights at 12:37 am Eastern/11:37 pm Central and 12:37 am Mountain in the United States. From 1993 until 2000, Andy Richter served as O'Brien's sidekick; following his departure, O'Brien was the show's sole featured performer. The show's house musical act was The Max Weinberg 7, led by E Street Band drummer Max Weinberg.
The second incarnation of NBC's Late Night franchise, O'Brien's program debuted in 1993 after David Letterman (who hosted the first incarnation of Late Night) moved to CBS to host Late Show opposite The Tonight Show. In 2004, as part of a deal to secure a new contract, NBC announced that O'Brien would leave Late Night in 2009 to succeed Jay Leno as the host of The Tonight Show. Jimmy Fallon began hosting his version of Late Night on March 2, 2009.
History
Replacing David Letterman
Upon Johnny Carson's retirement from The Tonight Show in 1992, executives at NBC announced that Carson's frequent guest-host Jay Leno would be Carson's replacement, and not David Letterman. NBC later said that Letterman's high ratings for Late Night were the reason they kept him where he was. Letterman was bitterly disappointed and angry at not having been given The Tonight Show job; and, at Carson's advice, he left NBC after eleven years on Late Night. CBS signed Letterman to host his own show opposite The Tonight Show. Letterman moved his show to CBS virtually unchanged, taking most of the staff, skits, and comedy formats with him. However, NBC owned the rights to the Late Night name, forcing Letterman to rename his show Late Show with David Letterman.
NBC was not prepared to replace both Letterman and Late Night. Aside from the name, it needed to build a new show. Both Dana Carvey and Garry Shandling declined to host it. Saturday Night Live producer Lorne Michaels was brought in to develop the new show, and comedians Jon Stewart, Drew Carey, and Paul Provenza auditioned to host. Michaels suggested to Conan O'Brien, an unknown writer for The Simpsons and former writer for Saturday Night Live, that he should audition for the job. Despite having "about 40 seconds" of television-performance experience as an occasional extra on Saturday Night Live sketches, O'Brien auditioned for the show on April 13, 1993. His guests were Jason Alexander and Mimi Rogers, and the audition took place on the set of The Tonight Show with Jay Leno. NBC offered the show to O'Brien on April 26, and O'Brien made his first meaningful television appearance later that day when Leno introduced him on Tonight. On the final episode of his 16-year run, O'Brien stated that he "owed his career to Lorne Michaels."
Debut
O'Brien's Late Night debuted on September 13, 1993, with Andy Richter chosen as O'Brien's sidekick. The premiere episode featured John Goodman, who received a "First Guest" medal for his appearance, Drew Barrymore, and Tony Randall. The episode featured a cold open of O'Brien's walk to the studio with constant reminders that he was expected to live up to Letterman; meanwhile, Tom Brokaw makes a cameo. After seeming to be unaffected by the comments, O'Brien arrives at his dressing room and cheerfully prepares to hang himself. However, a warning that the show is about to start causes him to abandon his plans.
The show's first musical guest was English rock band Radiohead, who performed during the second episode. American singer-songwriter Jonathan Richman was the show's second musical guest.
O'Brien's inexperience was apparent, and the show was generally considered mediocre by critics in terms of hosting. The Chicago Sun-Times Lon Grankhe called O'Brien "nervous, unprepared and generally geeky", and Tom Shales wrote "As for O'Brien, the young man is a living collage of annoying nervous habits. He giggles and titters, jiggles about and fiddles with his cuffs. He has dark, beady little eyes like a rabbit. He's one of the whitest white men ever." (O'Brien wrote for The New York Times a satirical review of the first episode the day it aired titled "O'Brien Flops!", in which he told readers "Frankly, I was not impressed".) The originality and quality of the comedy, however, led by original head writer Robert Smigel, was widely praised. Although O'Brien benefited by comparison from the quick critical and commercial failure of the fellow new late-night The Chevy Chase Show, NBC only offered short-term contracts, 13 weeks at a time and once for six weeks, as widely reported by the press at the time. O'Brien was reportedly almost fired at least once in this period, but NBC had no one to replace him. According to Smigel, "We were basically canceled at Conan, and then they changed their minds in August of '94, gave us a reprieve."
One NBC affiliate, KPRC-TV in Houston, dropped Late Night with Conan O'Brien in September 1994 due to low ratings and was replaced with first-run episodes of The Jenny Jones Show. KPRC reinstated O'Brien's Late Night in the fall of 1996, but scheduled it to air as late as 2:40 a.m. while the station, in addition to The Jenny Jones Show, had aired Extra, Access Hollywood, Ricki Lake, Montel Williams, Inside Edition and a rebroadcast of its 10:00 p.m. newscast between Leno and O'Brien. Houston became the subject of a skit (via classic remote piece) in which O'Brien made impromptu stops at Houston's central bus terminal and the Astrodome to watch an episode of his own show with Houstonians in 1997. KPRC began airing Late Night with Conan O'Brien directly following The Tonight Show with Jay Leno in 2004.
According to O'Brien, NBC network executive Warren Littlefield told him, with regard to Andy Richter, he'd "never succeed until I 'got rid of that big fat dildo.' That was the tone of the conversations between us and the network." It was widely expected that the host of Talk Soup, Greg Kinnear would take over the role, but Kinnear turned down the opportunity. (Kinnear would instead become host of Late Nights then-lead-out program, Later, in February 1994, remaining there for two years before deciding to pursue an acting career.) Stars like Tom Hanks agreed to appear on Late Night, which boosted audience awareness. Even Letterman, who admired O'Brien's comic sensibility, appeared as a guest to register his support. O'Brien's performance style improved through experience, and he began to receive more favorable reviews and ratings the following year. With the ratings gradually improving over the course of two years, Late Night reached a new level of critical and commercial success in 1996. Tom Shales officially recanted his previous critical review with the headline "I was wrong", and O'Brien received his first Emmy nomination for writing, which he received every year until 2011.
1996–2000
In 2000, Richter left Late Night on good terms, to pursue his acting career, a move that emotionally affected O'Brien, as evidenced by Richter's last show. The show's comedy bits and banter had usually depended on O'Brien's interaction with Richter. O'Brien's wacky non-sequitur comedy became more pronounced as he played all of his comedy and commentary directly to the audience and Max Weinberg instead of towards Richter.
2001–2009
In 2002, when time came to renew his contract, O'Brien had notable offers from other networks to defect; Fox was reported to have made particularly strong overtures, pitching him an 11:00 p.m. show. O'Brien decided to re-sign with NBC, however, joking that he initially wanted to make a 13-week deal (a nod to his first contract). He ultimately signed through 2005, indicating that it was symbolic of surpassing Letterman's run with 12 years of hosting.
In 2003, O'Brien's own production company, Conaco, was added as a producer of Late Night. The show celebrated its 10th anniversary, another milestone that O'Brien said he wanted to achieve with his 2002 contract. During the anniversary show, Mr. T handed O'Brien a chain with a large gold "7" on it.
O'Brien's last season on Late Night attracted an average of 1.98 million viewers, compared to 1.92 million viewers for The Late Late Show with Craig Ferguson.
US television ratings (late night talk shows)
Format
Humor
The show was known for its wacky and absurd sophomoric comedic sensibility that is edgier than most other talk shows. Like his Late Night predecessor, David Letterman, the show's humor also had a streak of biting sarcasm and irony. According to Robert Smigel, who served as head writer in 1993, the show's comedic approach was to focus on being different from David Letterman:
Typically O'Brien would play the 'straight man' role to the general absurdity of the comedy, treating the material or wacky nature of the sketches with sincerity. The show had an unusual quantity of comedy and original content rather than other talk shows such as Late Show with David Letterman or The Tonight Show with Jay Leno that relied heavily on recurring segments and 'found' humor. The show was particularly unique in the lack of 'found' humor to derive content from i.e. most content being scripted as opposed to Letterman's Small Town News or Jay Leno's headlines that used this "found humor". O'Brien would often playfully chide his audience for an underwhelming or overly enthusiastic response to his jokes.
Particularly in the early years, comedic sketches overtook all segments on the show, occasionally even interrupting guest interviews and O'Brien's monologue. Frequently sketches would randomly begin without introduction, such as during banter between Richter and O'Brien. A lot of the humor had a fantasy-like quality to it, where inanimate objects would talk or silly characters would disrupt the show. Sometimes a short story would emerge in these sketches with a resolution culminating in a song.
One recurring technique is to superimpose lips onto an existing image, as in the Syncro-Vox limited animation technique, resulting in the speaker saying things often quite out of character.
Although Late Night used political humor, it did so far less frequently than competing shows did. During the 1996 and 2000 presidential election seasons, Late Night was found to be the least politically-oriented late night program. It averaged 310 political jokes per election season, in contrast to the Leno-led Tonight Show with 1,275.
(See List of Late Night with Conan O'Brien sketches for an extensive list)
The Max Weinberg 7
The show's house band was The Max Weinberg 7, led by drummer Max Weinberg. The other six members were Mark Pender on trumpet, Richie "LaBamba" Rosenberg on trombone, Mike Merritt on bass, Jerry Vivino on saxophone and brother Jimmy Vivino on guitar, and Scott Healy on keyboards. Weinberg sometimes took extended leaves of absence to tour with Bruce Springsteen as the drummer for the E Street Band. During his absence, James Wormworth would typically fill in on drums, and the band was led by Vivino under the name Jimmy Vivino and the Max Weinberg 7.
With the departure of Andy Richter from Late Night in May 2000, Max Weinberg assumed a bigger role as an interlocutor for O'Brien's jokes. One common running gag was Max's awkwardness on camera and his apparent lack of chemistry with Conan. Weinberg was often used in sketches as well, which usually revolved around his purported sexual deviance (mostly a penchant for bedding barely legal groupies), although long-running sketches also spoofed Max's lack of knowledge of current affairs.
"LaBamba" was also used as the butt of many of Conan's jokes. These humorous sketches usually revolved around LaBamba's sizeable mustache, his poor acting skills, and his alleged inability to read written music. Mark Pender would often sing songs on the topic of a current event which ended with him screeching uncontrollably and climbing the risers into the audience. All members of the 7 have had successful side careers as studio musicians.
Theme song and other music
The show's opening theme was co-written by composer Howard Shore and John Lurie (of the band The Lounge Lizards). Lurie would later say that he was contracted by Shore to write the theme, and after he turned in the piece, Shore made minimal changes and claimed an unwarranted co-writing credit. Lurie also claimed to have been a finalist for Late Night'''s band leader position, but said producers told him, "Conan thinks you’re funnier than him and that scares him."
As is common in the talk show format, the Max Weinberg 7 performed the show's opening and closing themes, played bumpers into and out of commercial breaks (they actually played through the entire break for the studio audience), and a short piece during O'Brien's crossover to his desk after his monologue. The show's closing theme was called "Cornell Knowledge", and was lifted from Jerry and Jimmy Vivino's first album together. However, on Late Night, it was played at a much quicker tempo than the album version. The band also played a wide variety of songs as bumpers coming to and from commercial breaks and introducing guests—usually popular music from a variety of eras.
Joel Godard
Joel Godard, a long-time announcer for NBC shows, was the program's announcer and a frequent comedy contributor. On the show's final episode, Conan noted that Godard was originally hired to simply announce the show's intro and claimed "nobody thought you'd ever see him", however he was gradually worked into the show's comedy pieces. These bits usually revolved around Godard's supposed homosexual fetishes, deviant sexual habits, substance abuse, and suicidal tendencies. The humor came in part from Godard's delivery. No matter how depressing or deviant the topic being discussed was, he always did so in an exaggeratedly cheerful voice and with a huge smile plastered on his face. Several sketches ended with Godard apparently committing suicide in his announcer's booth.
When Andy Richter left the show in 2000, Joel Godard became more common among sketches.
Writing staff
In the first few seasons of the show, the writing staff consisted of several now-prolific comics including Robert Smigel as the head writer, Bob Odenkirk, Louis C.K., Tommy Blacha and Dino Stamatopoulos. Smigel left his position as head writer of the show in 1995 to pen several movies but continued to appear on the show to do bits as Triumph the Insult Comic Dog and the 'Satellite Interviews'. Jonathan Groff took over his position until replaced by Mike Sweeney in 2001.
Members of the show's writing staff frequently appeared in sketches on the show. Among the most prolific were: Brian McCann (Preparation H Raymond, FedEx Pope, The Loser, Airsick Moth, Jerry Butters, Awesome Dave, Funhole Guy, Bulletproof Legs Guy, Adrian "Raisin" Foster, S&M Lincoln, etc.), Brian Stack (Hannigan the Traveling Salesman, Artie Kendall the Ghost Crooner, The Interrupter, Kilty McBagpipes, Fan-tastic Guy, Clive Clemmons, Frankenstein, Ira, Slipnut Brian, etc.), Jon Glaser (Segue Sam, Pubes, Awareness Del, Wrist Hulk, Ahole Ronald, Gorton's Fisherman, Jeremy, Slipnut Jon, etc.), Kevin Dorff (Coked-up Werewolf, Jesus Christ, Mansy the half-man/half-pansy, Joe's Bartender, Todd the Tiny Guy, etc.), and Andy Blitz (Awful Ballgame Chanter, Vin Diesel's brother Leonard Diesel, Slipnut Andy, Chuck Aloo aka the star of the 24 spin-off series 60). Blitz went so far as to travel to India for one bit in which he carried his computer through the streets of India to get technical support firsthand from the telephone representative at NBC's technical help center.
Several writing staff interns have gone on to become noted actors or writers including Vanessa Bayer, John Krasinski, Mindy Kaling, Ellie Kemper and Jack McBrayer.
Sketch actors and cameo appearancesLate Night employed a number of sketch actors, many of whom were frequently reused in different roles in different episodes. Several years before joining the cast of Saturday Night Live, and for playing the role of Leslie Knope on another NBC TV show, Parks and Recreation, Amy Poehler often appeared as a regular in many sketches, though she was best remembered for playing the recurring role of Andy Richter's Conan-obsessed teenage sister, Stacy. Other notable comedians such as Jack McBrayer, Rob Riggle, Rob Corddry, H. Jon Benjamin, Ellie Kemper, Bobby Moynihan, Matt Besser, Ian Roberts, Matt Walsh and Andrew Daly also frequently appeared as sketch actors on the show for several years. Triumph the Insult Comic Dog (created and voiced by original head writer Robert Smigel) began as part of a sketch on Late Night. Celebrities such as Dr. Joyce Brothers, Nipsey Russell, Abe Vigoda, James Lipton, Bob Saget and William Preston as the character Carl 'Oldy' Olsen also made frequent cameo appearances in comedy sketches on the show at different periods. One of the show's graphic designers, Pierre Bernard, was featured in several sketches, such as "Pierre Bernard's Recliner of Rage" and "Nerding It Up For Pierre".
Celebrity guests of the night would also occasionally appear in sketches either during their interviews or during the earlier comedy segments, e.g. in "In the year 2000" (which always included the participation of a celebrity guest after Andy Richter left the show) or a sketch where Conan would pretend to write in his diary while an attractive female guest was there. Quite rare for a talk show, sometimes interviews began normally but turned into sketches with both the guest and Conan participating, usually when the guest was a "friend of the show."
Costumed characters
Unusual for a late night talk show, Late Night made frequent use of various costumed characters such as The Masturbating Bear, Robot on a Toilet, and Pimpbot 5000. The humor in these sketches often derived from the crude construction of the characters' costumes as well as the absurdist nature of their conceptions. For example, Pimpbot 5000 was a 1950s-style robot who dressed and acted in the manner of an exaggerated blaxploitation pimp, while The Masturbating Bear was a man in a bear costume wearing an oversized diaper who would invariably begin to fondle himself to the tune of Aram Khachaturian's "Sabre Dance" when brought on stage. Many of these characters did little more in their appearances than walk across the stage or be wheeled out from behind the curtain, but some had extensive sketches on the show.
Appearances in other shows
The show made a cameo appearance in the Sesame Street special Elmopalooza, where Conan was interviewing two aliens while Big Bird was passing by them carrying a video tape.
The show also made an appearance on The Simpsons in the episode "Bart Gets Famous", where Conan interviews a now famous Bart.
ProductionLate Night was a production of Lorne Michaels's Broadway Video (and, since 2003, O'Brien's Conaco). It was taped in Studio 6A in the GE Building at 30 Rockefeller Plaza in New York City. Next to the door were framed pictures of Letterman, Carson, Jack Paar and Steve Allen, each of whose groundbreaking late-night shows originated from studio 6A or 6B (where The Tonight Show Starring Jimmy Fallon is currently taped). The studio holds just over 200 audience members. It was taped at about 5:30 pm as an uninterrupted hour-long program, with the band playing music through the portions that would be filled by commercials. Generally, shows were taped at 5:30 pm Monday through Friday, although for much of the show's run, reruns would be aired on Mondays and the show would not tape that day.
The show's format consisted of an opening monologue from O'Brien, followed by various "desk bits". These generally included several brief sketches, recurring segments, or some other form of comedy. Typically O'Brien would play the 'straight man' role to the general absurdity of the comedy, treating the material or wacky nature of the sketches with sincerity. In the show's second and fourth segments, O'Brien interviewed two celebrity guests, between which, in the third segment, O'Brien listed the next night's/week's guests. There was often a comedy bit as well during this segment. The show's fifth segment was usually reserved for a musical or stand-up comedy performance, or occasionally another guest interview. The show's final segment was usually a quick "goodnight" and the closing credits, which sometimes featured part of a bit from earlier in the show. Quite rare for a talkshow, frequently comedy segments would also spill into the interviews, typically when a guest was a 'friend'of the show.
During the live tapings, and prior to the show, there was an audience warm-up, during which the audience watched a montage of highlights from the show, and staff writer Brian McCann greeted the audience (this task was formerly undertaken by head writer Mike Sweeney). McCann delivered a few jokes, told the audience what to expect, and finally introduced the band and then O'Brien. O'Brien then thanked the audience for coming, meeting as many audience members as he could. He would often then do a musical number with the band to pump up the audience (Burning Love was one standard). After the show was finished taping, O'Brien sang the "End of the Show Song", which never aired on Late Night, although in February 2009, a short video of it was posted on Late Night Underground. The End of the Show Song finally did reach air on January 21, 2010, his penultimate show as Tonight Show host. It also was aired on the March 29, 2012 episode of Conan. The tradition of singing The End of the Show Song has continued, un-aired as usual, on Conan.
BroadcastLate Night began broadcasting in 1080i ATSC on April 26, 2005, with a downscaled letterboxed NTSC simulcast (unlike The Tonight Show, whose NTSC simulcast is fullscreen). O'Brien celebrated the conversion to the widescreen HDTV format with jokes throughout the week.
On December 6, 2005 Late Night with Conan O'Brien segments began selling on the iTunes Store. Most segments were priced at $1.99, as were most episodes of other shows, with "special" best-ofs and other longer segments priced at $9.99. In December, 2007 NBC stopped selling all its television shows on iTunes, but the network returned it to iTunes in September 2008 after NBC and Apple worked out a new agreement. The show was offered free at Hulu.com and the NBC website but has been unavailable on the Internet since the 2010 Tonight Show conflict. However, in May 2018, O'Brien and his current network, TBS, announced they would partner with NBC to make his entire Late Night archives available online, marking the 25th anniversary of O'Brien's late night debut.
Special episodes
Remote pieces and episodes shot on location
Remote pieces shot on location were a recurring staple on Late Night, but occasionally, entire episodes were shot on location, usually during sweeps months. The first vacation for the show was a week-long stint of shows in Los Angeles the week of November 9–12, 1999. This was the only location week for the show while Andy Richter was with the show, and the only time the show's theme was altered for the week, with a more surf-style version of the show's normal theme (though the Toronto shows ended the normal theme with a piece of "O Canada"). The show was broadcast from NBC's L.A. studios (NBC Studios Burbank) and an L.A.-themed set was built, very similar in layout to the New York set.
From February 10–13, 2004, Late Night broadcast from the Elgin Theatre in Toronto, Canada. The guests for these episodes were all Canadians (with the exception of Adam Sandler), and included such stars as Jim Carrey and Mike Myers. As the show was taped at a theater, unlike the trip to L.A., the set built was not like the show's standard set.
From May 9–12, 2006, the show made a similar venture to the Chicago Theatre in Chicago, Illinois, taking cues from their previous trip to Toronto. Between April 30 – May 4, 2007, the show originated from the Orpheum Theatre in San Francisco.
In a sketch called "Conan O'Brien Hates My Homeland", Conan mocked every nation in the world to see which ones he gets letters from. An announcer on the Finnish entertainment channel SubTV, which airs the show a couple of days after it is aired in the US, asked people to defend Finland before Conan got to insult it, and the viewers in Finland began sending mail before the bit had even gotten to the letter F. Conan responded by assuming the Finnish "just couldn't wait" to be insulted and officially insulted Finland in the segment. An overwhelming number of postcards were supposedly received, which apparently "forced" Conan to give Finland a formal apology. Conan then went as far as to have the flag of Finland shown in the background during a speech and slandered the Finns' "hated" neighbor Sweden with a sign saying "Sweden Sucks!" printed over the flag of Sweden. It would seem that this chain of events led to elevated ratings in Finland and subsequently also sparked a special relationship with the viewers in Finland. Later when Conan was talking to audience members before the show, a group of fans visiting from Finland commented that he resembled their female president Tarja Halonen. Conan mentioned the resemblance on his show, even showing pictures of Halonen next to himself. When he discovered that Halonen was up for reelection he began making satirical commercials in support of Halonen and vowed to travel to Finland to meet her if she won re-election. When she did indeed win re-election in January 2006, Conan traveled to Finland and met with her. One episode, broadcast on March 10, 2006, was compiled mainly of footage from O'Brien's trip to Finland. In the episode, Conan greeted fans at the airport, participated in a Sami cultural ceremony, appeared on a Finnish talk show, and attempted to visit a fan who had written to him. The episode was not strictly taped as a live episode there, however, but was prefaced by an introduction by O'Brien taped in New York. The Finland episode came as the culmination of a long-running joke on the show.
Aside from location shows, the show also did special one-shots in its early years. In 1995, one episode of the show was taped aboard a New York City ferry in New York Harbor. Dubbed "The Show on a Boat" by the showtunes-style song-and-dance number performed by a trio of "sailors" at the start of the show, O'Brien, Richter, the band and guests were all crammed onto the deck of the ferry. The show was taped at its normal afternoon time, while it was still light out.
Technical and production difficulties
A more unexpected shoot occurred on October 10, 1996, when a five-alarm fire in Rockefeller Plaza rendered the 6A studios out of commission for the remainder of that week. The fire occurred on early Thursday morning, which left O'Brien's staff precious little time to assemble a show elsewhere. Pressed for time as 12:35 approached, O'Brien taped the show outside, after dark, despite the cold weather, on a makeshift set with the Prometheus statue and 30 Rock serving as a backdrop. Furthering the unfortunate nature of the evening's circumstances was the final guest, Julie Scardina, who brought along wild animals, including birds that Conan explained had to be kept tied up, as they could not be freed outside. Earlier in the show, O'Brien and Richter walked into Brookstone (located in the lobby of Rockefeller Center), camera crew in tow, and bought a massaging leather recliner for the first guest, Samuel L. Jackson. The second of the two "fire shows", on Friday night, was taped in the Today Show studio, which was not affected by the fire.
During the Northeast Blackout of 2003, O'Brien and the staff taped a short 10-minute introduction explaining that the episode they had planned would not be taking place due to the blackout. Studio 6A was powered by a generator and lit by battery-powered floodlights. A standby show was aired in-progress after the intro. One of the scheduled guests that night, The Dandy Warhols, commandeered the studio's green room, where they stayed until they performed on the show the next night.
Gimmick episodes
Other shows that were taped in the regular 6A studio were augmented by special gimmicks:
A lot of high-concept gimmick episodes were done in the early years of the show, such as a 1994 episode literally done in a giant hole, a 1995 show done entirely on a boat of the circle line or "Time Travel Week", four episodes from early 1996, where Conan and Andy (and the rest of the crew) "time-traveled" to a different point in time each night. Times and locations included The Civil War, Ancient Greece, The future, and The early '80s (featuring a cameo by David Letterman in the cold open, who occupied Conan's studio in 1983, cruelly brushing off Conan and Andy's attempt at explaining their presence in Letterman's dressing room by saying, "Why don't you two fellas go find a nice, warm place to screw yourselves? Security!").
In 1997, a special episode was taped in which the studio audience was composed solely of grade-school age children, primarily 5–10 years of age. Conan interacted with the children, encouraging them to laugh and cheer to keep away the boredom monster.
The February 19, 1998 episode was aired against coverage of the 1998 Winter Olympics on CBS, and therefore, Conan assumed no one was watching, and they could do anything. He and Andy took to performing increasingly outrageous acts, such as Conan revealing a Hanson T-shirt under his shirt and tie, and confessing his hatred for the NBC screen bug, going as far as to kill it with a can of Raid. He and Andy also smoked on the air (with a cutaway showing a mother finding her two kids imitating Conan), Max Weinberg confessed to killing Bruce Springsteen's previous drummer, as well as a number of other people he didn't like (even showing a map of where he buried them), Al Roker walked into the studio and confessed he never liked the weather, and Conan asked a female audience member to have consensual sex with him, which the woman vehemently refused. The event became known as "Nobody's Watching".
The October 18, 2002 episode was re-shot entirely in clay animation nearly seven months after its first airing, including the opening credits and commercial bumpers. The episode's originally broadcast soundtrack was retained while the visuals were reproduced to mirror the original footage in a small-scale reproduction of the studio 6A.
On October 31, 2006, a similarly conceptualized Halloween episode was created from an episode which originally aired in May and featured Larry King, among other guests. Using a process the show called "Skelevision", all the visuals were re-shot with a Halloween motif, with human skeletons adorned with the clothing and accessories of the humans. This re-shoot was shot using the actual studio, and the puppeteers moved the skeletons with wires and cables while being visually obscured by green screen technology. Once again, the opening and bumpers were altered, this time including a model of a hearse winding through a foggy landscape and cemetery, and the voice of Bill Hader as Vincent Price in place of Joel Godard.
U2 exclusive
The October 5, 2005 episode of Late Night was devoted entirely to the band U2, marking the first time in the show's then 13-year run that it had devoted an entire show to a single guest. Jim Pitt, the talent executive in charge of booking acts for the show, remarked that in his 12 years of working for Late Night, U2 and Johnny Cash were the "dream artists" he'd tried, but never succeeded in getting. The band performed three songs, two more than the customary one song, then had a lengthy interview with Conan.
Episodes during the 2007–2008 writer's strike
After two months of being off-air, the first show to air during the 2007–2008 Writers Guild of America strike on January 2, 2008 featured a small musical segment at the beginning of the show detailing O'Brien's newly grown beard in a show of support for the striking writers. At the beginning of the January 28 episode, it was revealed that Conan had shaved his beard, which was followed with a similar musical segment.
Several times during the episodes produced during the writer's strike, O'Brien would kill time by spinning his wedding ring on his desk, which he previously only did during rehearsals. His personal best was 41 seconds, achieved during an un-aired rehearsal. After several unsuccessful on-air attempts to break his record, during the show originally broadcast on February 9, 2008, O'Brien broke his record for endurance ring spinning, setting a time of 51 seconds by coating his wedding ring with Vaseline and spinning it on a Teflon surface. The feat was accomplished with the help of MIT physics professor Peter Fisher. These episodes are considered by most fans to be the magnum opus of O'Brien's television career, considering the spontaneity of each episode. The strike also gave rise to associate producer Jordan Schlansky's repeated appearances on the show as an embellished version of himself.
"Feud" with Jon Stewart and Stephen Colbert
Early on in the later half of the 2007–2008 Writer's Guild strike, Conan O'Brien accused his show of being the sole cause of presidential candidate Mike Huckabee's status in the polls, due to his use of the Walker, Texas Ranger Lever while Chuck Norris was coincidentally sponsoring Huckabee. Stephen Colbert made the claim that because of "the Colbert bump," he was responsible for Huckabee's current success in the 2008 presidential race. O'Brien claimed that he was responsible for Colbert's success because he had made mention of him on his show. In response, Jon Stewart, host of The Daily Show, claimed that he was responsible for the success of O'Brien, and in turn the success of Huckabee and Colbert. This resulted in a three-part comedic battle among the three hosts, with all three appearing on each other's shows. The feud ended on Late Night with an all-out mock brawl between the three talk-show hosts.
Anniversary episodes
In 1996, a third anniversary episode was taped, though it aired in the regular 12:35/11:35 late night time slot. The show was composed of clips of the best of the first three years, and featured cameos from many former guests, including Janeane Garofalo, Scott Thompson, Tony Randall and George Wendt. Typical of O'Brien's style of comedy, he introduced his first guest (Wendt) by listing his notable achievements in television (particularly Cheers) then introduced each subsequent guest by repeatedly listing Wendt's achievements (insinuating that all of his guests for that night's show played the role of Norm on Cheers). In 1998, Late Night aired a fifth anniversary special in prime time, mostly consisting of clips from the first five years. It was taped in the Saturday Night Live studio, also in the GE Building. The special was later sold on VHS tape. In 2003, a similar tenth anniversary special was taped in New York City's famed Beacon Theatre and later made available on DVD.
The final episodeLate Night with Conan O'Briens last episode was recorded February 20, 2009, and aired shortly after midnight that next morning. The episode featured clips from past shows and a reflection on the show's sixteen-year-long run. John Mayer sent a farewell video message, singing a song about how Los Angeles is "going to eat [Conan] alive." In a short remote piece, Conan released regular contributor Abe Vigoda "into the wild," as he could not bring him to Los Angeles for the move to The Tonight Show. Will Ferrell made a surprise visit as George W. Bush, which quickly devolved into Ferrell tearing off his business suit to reveal an ill-fitting green leprechaun outfit that had been worn in a number of previous appearances on the show.
Former sidekick Andy Richter, who re-joined O'Brien when he took over The Tonight Show in June, joined O'Brien onstage for two segments, watching clips and reminiscing about the show. Among the clips shown, O'Brien noted that his all-time favorite Late Night piece was when he attended a re-enactment of an American Civil War-era baseball game, played at a Long Island, New York museum, Old Bethpage Village Restoration. During the course of the final week, O'Brien began violently dismantling and handing out pieces of the production set to the audience. In the final show, a large piece of the stage's frame was pulled down and chopped into pieces. O'Brien then promised to give each audience member in attendance a piece of the set.
One of Conan's favorite bands, The White Stripes, performed a new, slower arrangement of their song "We're Going to Be Friends" based on Conan's lullaby rendition of the song, with drummer Meg White playing second guitar and singing along with vocalist/guitarist Jack White. The performance proved to be the band's last before their breakup in February 2011. The program concluded with a visibly emotional O'Brien giving a farewell speech from behind his desk, thanking his fans, writers, producers, backstage crew, his family, the Max Weinberg 7, David Letterman, Joel Godard, Jay Leno, and Lorne Michaels, as well as a final assurance that he would not "grow up" as he moved to The Tonight Show.
About 3.4 million viewers watched O'Brien's final episode of Late Night, the largest audience since the January 24, 2005 episode that followed Jay Leno's tribute to Johnny Carson.
After the end of the series, Studio 6A at Rockefeller Center was remodeled for The Dr. Oz Show. In the summer of 2013, NBC moved Late Night with Jimmy Fallon to Studio 6A while 6B, which housed Late Night since Fallon succeeded O'Brien in 2009, was being renovated when Fallon took over The Tonight Show on February 17, 2014 while The Dr. Oz Show moved to ABC's Upper West Side studios.
Awards and nominations
Set design
O'Brien's Late Night had three longterm permanent sets, but retained the basic structure used when Letterman occupied Studio 6A: the performance space at the viewer's left, and the desk area, to the viewer's right, where interviews were done. O'Brien did his monologue in the performance area, emerging at the start of each episode from the area where musical guests perform. The Max Weinberg 7 were in the corner made by the stage-right wall and the wall in front of the audience. The desk area had a desk for O'Brien, a chair and couch(es) to the viewer's left for guests (and originally Andy Richter), and a coffee table.
Primarily, set changes involved the background behind the desk and chair and couch. The original set, used from the show's debut in 1993 until the fall of 1996, was primarily yellow, and the desk background resembled the living room of a New York City apartment, with windows that looked out at a Manhattan backdrop. For years afterwards, O'Brien mocked this original set, particularly its "mustard color". The two subsequent set designs featured darker blues and violets to emulate the feel of nighttime, with the final set featuring a balcony railing in front of a backdrop with the view from the top of Rockefeller Center. This set debuted on September 4, 2001 and necessitated changes almost instantly as its backdrop view of New York City contained the World Trade Center, which was destroyed a week later. A special curtain was used to obstruct the towers temporarily, until eventually the curtain became a permanent part of the set design even after the backdrop was altered. During his final week of episodes, Conan took an axe to parts of the set, giving it out to audience members as souvenirs, not wanting to allow it to simply be thrown away.
International broadcasts
CNBC Europe used to air Late Night with Conan O'Brien on weeknights from 11:45 pm–12:30 am CET, with weekend editions on Saturdays and Sundays at 9:45 pm–10:30 pm CET. However, in March 2007, CNBC Europe decided to show only the weekend editions, and drop the weeknight editions, to make way for more business news programmes in their weeknight schedules.
On the week of August 4, 2008, however, CNBC Europe has discontinued showing the NBC Nightly News, which for many years was shown live from America in a 12:30 am–1:00 am CET slot. Late Night with Conan O'Brien has now replaced NBC Nightly News in the 12:30 am–1:00 am slot. The weeknight editions are a 30-minute condensed version of the show. The show follows the weeknight condensed version of The Tonight Show with Jay Leno which airs at 12:00 am CET.
In September 2008, CNBC Europe changed the weeknight schedules to include full uncut editions of Late Night with Conan O'Brien broadcast in the 11:45 am CET/10:45 pm GMT 45-minute time slot. This schedule usually runs from Tuesdays to Fridays. CNBC Europe decided to stop broadcasting Late Night as of January 1, 2009, a mere two months before Conan's last show as host. Instead of following The Tonight Show reruns on weekends, CNBC now broadcasts two Tonight Show episodes in a row.
See also
List of Late Night with Conan O'Brien sketches
List of Late Night with Conan O'Brien characters
List of Late Night with Conan O'Brien episodes
Pale Force
The Tonight Show with Conan O'Brien''
List of late night network TV programs
References
Further reading
External links
Joseph Konopka scenic art journals for Late Night with Conan O'Brien, 1993-2009, held by the Billy Rose Theatre Division, New York Public Library for the Performing Arts
1993 American television series debuts
2009 American television series endings
1990s American late-night television series
2000s American late-night television series
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CNBC Europe original programming
English-language television shows
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NBC original programming
Primetime Emmy Award-winning television series
Television series by Universal Television
Television shows set in New York City
American television shows featuring puppetry
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"Alty Karliev (6 January 1909 - 11 December 1973), PAU, was a Turkmen actor and director, born in Askhabad. He studied at the Turkmen Drama Studio and the Baku Theatre College, graduating from the latter in 1931. After this, he worked as an actor at the Ashkhabad Drama Theatre.\n\nKarliev's first film appearance was as Kelkhan in the 1939 film Soviet Patriots. Other notable film roles included Nury in Dursun (1940) and Aldar Kose in The Magic Crystal (1945). His appearance in The Magic Crystal gained him a following across the Soviet Union.\n\nKarliev did not have any formal training as a director, but learned from Russian and Ukrainian directors. His first directing credit was in 1957, when he worked with Yevgeni Ivanov-Barkov on the first colour film produced by Turkmenfilm, Extraordinary Mission. His next film was with Viktor Ivanov, Anya (1960). This was followed by The Decisive Step (1965).\n\nReferences\n\n1909 births\n1973 deaths\nPeople from Ashgabat\nPeople from Transcaspian Oblast\nSoviet male film actors\nSoviet film directors\nTurkmenistan male film actors\nTurkmenistan film directors\nTurkmenistan male actors\n20th-century Turkmenistan male actors\nRecipients of the Order of Lenin",
"This list includes actors of Vietnamese descent or nationality that have appeared in a full-length feature film or a television series broadcast on a national network. Although it includes some actors that have performed in films produced in Vietnam, it is not a comprehensive list of all Vietnamese actors who have performed in Vietnamese movies.\n\nNotable actors\n\nReferences \n\nVietnamese\n \nActors"
] |
[
"Late Night with Conan O'Brien",
"Debut",
"When did it debut?",
"O'Brien's Late Night debuted on September 13, 1993,",
"Are there any other interesting aspects about this article?",
"The premiere episode featured John Goodman (who received a \"First Guest\" medal for his appearance",
"How did the public take to this show?",
"O'Brien's inexperience was apparent and the show was generally considered mediocre by critics in terms of the host's ability.",
"Did it have any notable actors?",
"Drew Barrymore, and Tony Randall."
] |
C_ea8e70b3e3d140daa522df55051a5411_1
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Did these appearances increase viewers?
| 5 |
Did Drew Barrymore and Tony Randall's appearances on Late Night with Conan O'Brien increase viewers?
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Late Night with Conan O'Brien
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O'Brien's Late Night debuted on September 13, 1993, with Andy Richter chosen as O'Brien's sidekick. The premiere episode featured John Goodman (who received a "First Guest" medal for his appearance), Drew Barrymore, and Tony Randall. The episode featured a cold open of O'Brien's walk to the studio with constant reminders that he was expected to live up to Letterman, parodying a popular sentiment expressed in the media at the time. After seeming to be unaffected by the comments, O'Brien arrives at his dressing room and cheerfully prepares to hang himself. However, a warning that the show is about to start causes him to abandon his plans. O'Brien's inexperience was apparent and the show was generally considered mediocre by critics in terms of the host's ability. The Chicago Sun-Times' Lon Grankhe called O'Brien "nervous, unprepared and generally geeky" and Tom Shales wrote "As for O'Brien, the young man is a living collage of annoying nervous habits. He giggles and titters, jiggles about and fiddles with his cuffs. He has dark, beady little eyes like a rabbit. He's one of the whitest white men ever." (O'Brien wrote for The New York Times a satirical review of the first episode the day it aired titled "O'Brien Flops!", in which he told readers "Frankly, I was not impressed".) The originality and quality of the comedy, however, led by original head writer Robert Smigel, was widely praised. Although O'Brien benefited by comparison from the quick critical and commercial failure of the fellow new late-night The Chevy Chase Show, NBC only offered short-term contracts, 13 weeks at a time and once for six weeks, as widely reported by the press at the time. O'Brien was reportedly almost fired at least once in this period, but NBC had no one to replace him. According to Smigel, "We were basically canceled at Conan, and then they changed their minds in August of '94, gave us a reprieve." According to O'Brien a network executive told him, in regards to Andy Richter, he'd "never succeed until I 'got rid of that big fat dildo.' That was the tone of the conversations between us and the network." It was widely expected that the host of Talk Soup, Greg Kinnear would take over the role, but Kinnear turned down the opportunity and decided to pursue a career in acting. Stars like Tom Hanks agreed to appear on Late Night, which boosted audience awareness. Even Letterman, who admired O'Brien's comic sensibility, appeared as a guest to register his support. O'Brien's performance style improved through experience and he began to receive more favorable reviews and ratings the following year. With the ratings gradually improving over the course of two years, Late Night reached a new level of critical and commercial success in 1996. Tom Shales officially recanted his previous critical review with the headline "I was wrong", and O'Brien received his first Emmy writing nomination, which he has gone on to receive every year since. CANNOTANSWER
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Stars like Tom Hanks agreed to appear on Late Night, which boosted audience awareness.
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Late Night with Conan O'Brien is an American late-night talk show hosted by Conan O'Brien that aired 2,725 episodes on NBC from September 13, 1993 to February 20, 2009. The show featured varied comedic material, celebrity interviews, and musical and comedy performances. Late Night aired weeknights at 12:37 am Eastern/11:37 pm Central and 12:37 am Mountain in the United States. From 1993 until 2000, Andy Richter served as O'Brien's sidekick; following his departure, O'Brien was the show's sole featured performer. The show's house musical act was The Max Weinberg 7, led by E Street Band drummer Max Weinberg.
The second incarnation of NBC's Late Night franchise, O'Brien's program debuted in 1993 after David Letterman (who hosted the first incarnation of Late Night) moved to CBS to host Late Show opposite The Tonight Show. In 2004, as part of a deal to secure a new contract, NBC announced that O'Brien would leave Late Night in 2009 to succeed Jay Leno as the host of The Tonight Show. Jimmy Fallon began hosting his version of Late Night on March 2, 2009.
History
Replacing David Letterman
Upon Johnny Carson's retirement from The Tonight Show in 1992, executives at NBC announced that Carson's frequent guest-host Jay Leno would be Carson's replacement, and not David Letterman. NBC later said that Letterman's high ratings for Late Night were the reason they kept him where he was. Letterman was bitterly disappointed and angry at not having been given The Tonight Show job; and, at Carson's advice, he left NBC after eleven years on Late Night. CBS signed Letterman to host his own show opposite The Tonight Show. Letterman moved his show to CBS virtually unchanged, taking most of the staff, skits, and comedy formats with him. However, NBC owned the rights to the Late Night name, forcing Letterman to rename his show Late Show with David Letterman.
NBC was not prepared to replace both Letterman and Late Night. Aside from the name, it needed to build a new show. Both Dana Carvey and Garry Shandling declined to host it. Saturday Night Live producer Lorne Michaels was brought in to develop the new show, and comedians Jon Stewart, Drew Carey, and Paul Provenza auditioned to host. Michaels suggested to Conan O'Brien, an unknown writer for The Simpsons and former writer for Saturday Night Live, that he should audition for the job. Despite having "about 40 seconds" of television-performance experience as an occasional extra on Saturday Night Live sketches, O'Brien auditioned for the show on April 13, 1993. His guests were Jason Alexander and Mimi Rogers, and the audition took place on the set of The Tonight Show with Jay Leno. NBC offered the show to O'Brien on April 26, and O'Brien made his first meaningful television appearance later that day when Leno introduced him on Tonight. On the final episode of his 16-year run, O'Brien stated that he "owed his career to Lorne Michaels."
Debut
O'Brien's Late Night debuted on September 13, 1993, with Andy Richter chosen as O'Brien's sidekick. The premiere episode featured John Goodman, who received a "First Guest" medal for his appearance, Drew Barrymore, and Tony Randall. The episode featured a cold open of O'Brien's walk to the studio with constant reminders that he was expected to live up to Letterman; meanwhile, Tom Brokaw makes a cameo. After seeming to be unaffected by the comments, O'Brien arrives at his dressing room and cheerfully prepares to hang himself. However, a warning that the show is about to start causes him to abandon his plans.
The show's first musical guest was English rock band Radiohead, who performed during the second episode. American singer-songwriter Jonathan Richman was the show's second musical guest.
O'Brien's inexperience was apparent, and the show was generally considered mediocre by critics in terms of hosting. The Chicago Sun-Times Lon Grankhe called O'Brien "nervous, unprepared and generally geeky", and Tom Shales wrote "As for O'Brien, the young man is a living collage of annoying nervous habits. He giggles and titters, jiggles about and fiddles with his cuffs. He has dark, beady little eyes like a rabbit. He's one of the whitest white men ever." (O'Brien wrote for The New York Times a satirical review of the first episode the day it aired titled "O'Brien Flops!", in which he told readers "Frankly, I was not impressed".) The originality and quality of the comedy, however, led by original head writer Robert Smigel, was widely praised. Although O'Brien benefited by comparison from the quick critical and commercial failure of the fellow new late-night The Chevy Chase Show, NBC only offered short-term contracts, 13 weeks at a time and once for six weeks, as widely reported by the press at the time. O'Brien was reportedly almost fired at least once in this period, but NBC had no one to replace him. According to Smigel, "We were basically canceled at Conan, and then they changed their minds in August of '94, gave us a reprieve."
One NBC affiliate, KPRC-TV in Houston, dropped Late Night with Conan O'Brien in September 1994 due to low ratings and was replaced with first-run episodes of The Jenny Jones Show. KPRC reinstated O'Brien's Late Night in the fall of 1996, but scheduled it to air as late as 2:40 a.m. while the station, in addition to The Jenny Jones Show, had aired Extra, Access Hollywood, Ricki Lake, Montel Williams, Inside Edition and a rebroadcast of its 10:00 p.m. newscast between Leno and O'Brien. Houston became the subject of a skit (via classic remote piece) in which O'Brien made impromptu stops at Houston's central bus terminal and the Astrodome to watch an episode of his own show with Houstonians in 1997. KPRC began airing Late Night with Conan O'Brien directly following The Tonight Show with Jay Leno in 2004.
According to O'Brien, NBC network executive Warren Littlefield told him, with regard to Andy Richter, he'd "never succeed until I 'got rid of that big fat dildo.' That was the tone of the conversations between us and the network." It was widely expected that the host of Talk Soup, Greg Kinnear would take over the role, but Kinnear turned down the opportunity. (Kinnear would instead become host of Late Nights then-lead-out program, Later, in February 1994, remaining there for two years before deciding to pursue an acting career.) Stars like Tom Hanks agreed to appear on Late Night, which boosted audience awareness. Even Letterman, who admired O'Brien's comic sensibility, appeared as a guest to register his support. O'Brien's performance style improved through experience, and he began to receive more favorable reviews and ratings the following year. With the ratings gradually improving over the course of two years, Late Night reached a new level of critical and commercial success in 1996. Tom Shales officially recanted his previous critical review with the headline "I was wrong", and O'Brien received his first Emmy nomination for writing, which he received every year until 2011.
1996–2000
In 2000, Richter left Late Night on good terms, to pursue his acting career, a move that emotionally affected O'Brien, as evidenced by Richter's last show. The show's comedy bits and banter had usually depended on O'Brien's interaction with Richter. O'Brien's wacky non-sequitur comedy became more pronounced as he played all of his comedy and commentary directly to the audience and Max Weinberg instead of towards Richter.
2001–2009
In 2002, when time came to renew his contract, O'Brien had notable offers from other networks to defect; Fox was reported to have made particularly strong overtures, pitching him an 11:00 p.m. show. O'Brien decided to re-sign with NBC, however, joking that he initially wanted to make a 13-week deal (a nod to his first contract). He ultimately signed through 2005, indicating that it was symbolic of surpassing Letterman's run with 12 years of hosting.
In 2003, O'Brien's own production company, Conaco, was added as a producer of Late Night. The show celebrated its 10th anniversary, another milestone that O'Brien said he wanted to achieve with his 2002 contract. During the anniversary show, Mr. T handed O'Brien a chain with a large gold "7" on it.
O'Brien's last season on Late Night attracted an average of 1.98 million viewers, compared to 1.92 million viewers for The Late Late Show with Craig Ferguson.
US television ratings (late night talk shows)
Format
Humor
The show was known for its wacky and absurd sophomoric comedic sensibility that is edgier than most other talk shows. Like his Late Night predecessor, David Letterman, the show's humor also had a streak of biting sarcasm and irony. According to Robert Smigel, who served as head writer in 1993, the show's comedic approach was to focus on being different from David Letterman:
Typically O'Brien would play the 'straight man' role to the general absurdity of the comedy, treating the material or wacky nature of the sketches with sincerity. The show had an unusual quantity of comedy and original content rather than other talk shows such as Late Show with David Letterman or The Tonight Show with Jay Leno that relied heavily on recurring segments and 'found' humor. The show was particularly unique in the lack of 'found' humor to derive content from i.e. most content being scripted as opposed to Letterman's Small Town News or Jay Leno's headlines that used this "found humor". O'Brien would often playfully chide his audience for an underwhelming or overly enthusiastic response to his jokes.
Particularly in the early years, comedic sketches overtook all segments on the show, occasionally even interrupting guest interviews and O'Brien's monologue. Frequently sketches would randomly begin without introduction, such as during banter between Richter and O'Brien. A lot of the humor had a fantasy-like quality to it, where inanimate objects would talk or silly characters would disrupt the show. Sometimes a short story would emerge in these sketches with a resolution culminating in a song.
One recurring technique is to superimpose lips onto an existing image, as in the Syncro-Vox limited animation technique, resulting in the speaker saying things often quite out of character.
Although Late Night used political humor, it did so far less frequently than competing shows did. During the 1996 and 2000 presidential election seasons, Late Night was found to be the least politically-oriented late night program. It averaged 310 political jokes per election season, in contrast to the Leno-led Tonight Show with 1,275.
(See List of Late Night with Conan O'Brien sketches for an extensive list)
The Max Weinberg 7
The show's house band was The Max Weinberg 7, led by drummer Max Weinberg. The other six members were Mark Pender on trumpet, Richie "LaBamba" Rosenberg on trombone, Mike Merritt on bass, Jerry Vivino on saxophone and brother Jimmy Vivino on guitar, and Scott Healy on keyboards. Weinberg sometimes took extended leaves of absence to tour with Bruce Springsteen as the drummer for the E Street Band. During his absence, James Wormworth would typically fill in on drums, and the band was led by Vivino under the name Jimmy Vivino and the Max Weinberg 7.
With the departure of Andy Richter from Late Night in May 2000, Max Weinberg assumed a bigger role as an interlocutor for O'Brien's jokes. One common running gag was Max's awkwardness on camera and his apparent lack of chemistry with Conan. Weinberg was often used in sketches as well, which usually revolved around his purported sexual deviance (mostly a penchant for bedding barely legal groupies), although long-running sketches also spoofed Max's lack of knowledge of current affairs.
"LaBamba" was also used as the butt of many of Conan's jokes. These humorous sketches usually revolved around LaBamba's sizeable mustache, his poor acting skills, and his alleged inability to read written music. Mark Pender would often sing songs on the topic of a current event which ended with him screeching uncontrollably and climbing the risers into the audience. All members of the 7 have had successful side careers as studio musicians.
Theme song and other music
The show's opening theme was co-written by composer Howard Shore and John Lurie (of the band The Lounge Lizards). Lurie would later say that he was contracted by Shore to write the theme, and after he turned in the piece, Shore made minimal changes and claimed an unwarranted co-writing credit. Lurie also claimed to have been a finalist for Late Night'''s band leader position, but said producers told him, "Conan thinks you’re funnier than him and that scares him."
As is common in the talk show format, the Max Weinberg 7 performed the show's opening and closing themes, played bumpers into and out of commercial breaks (they actually played through the entire break for the studio audience), and a short piece during O'Brien's crossover to his desk after his monologue. The show's closing theme was called "Cornell Knowledge", and was lifted from Jerry and Jimmy Vivino's first album together. However, on Late Night, it was played at a much quicker tempo than the album version. The band also played a wide variety of songs as bumpers coming to and from commercial breaks and introducing guests—usually popular music from a variety of eras.
Joel Godard
Joel Godard, a long-time announcer for NBC shows, was the program's announcer and a frequent comedy contributor. On the show's final episode, Conan noted that Godard was originally hired to simply announce the show's intro and claimed "nobody thought you'd ever see him", however he was gradually worked into the show's comedy pieces. These bits usually revolved around Godard's supposed homosexual fetishes, deviant sexual habits, substance abuse, and suicidal tendencies. The humor came in part from Godard's delivery. No matter how depressing or deviant the topic being discussed was, he always did so in an exaggeratedly cheerful voice and with a huge smile plastered on his face. Several sketches ended with Godard apparently committing suicide in his announcer's booth.
When Andy Richter left the show in 2000, Joel Godard became more common among sketches.
Writing staff
In the first few seasons of the show, the writing staff consisted of several now-prolific comics including Robert Smigel as the head writer, Bob Odenkirk, Louis C.K., Tommy Blacha and Dino Stamatopoulos. Smigel left his position as head writer of the show in 1995 to pen several movies but continued to appear on the show to do bits as Triumph the Insult Comic Dog and the 'Satellite Interviews'. Jonathan Groff took over his position until replaced by Mike Sweeney in 2001.
Members of the show's writing staff frequently appeared in sketches on the show. Among the most prolific were: Brian McCann (Preparation H Raymond, FedEx Pope, The Loser, Airsick Moth, Jerry Butters, Awesome Dave, Funhole Guy, Bulletproof Legs Guy, Adrian "Raisin" Foster, S&M Lincoln, etc.), Brian Stack (Hannigan the Traveling Salesman, Artie Kendall the Ghost Crooner, The Interrupter, Kilty McBagpipes, Fan-tastic Guy, Clive Clemmons, Frankenstein, Ira, Slipnut Brian, etc.), Jon Glaser (Segue Sam, Pubes, Awareness Del, Wrist Hulk, Ahole Ronald, Gorton's Fisherman, Jeremy, Slipnut Jon, etc.), Kevin Dorff (Coked-up Werewolf, Jesus Christ, Mansy the half-man/half-pansy, Joe's Bartender, Todd the Tiny Guy, etc.), and Andy Blitz (Awful Ballgame Chanter, Vin Diesel's brother Leonard Diesel, Slipnut Andy, Chuck Aloo aka the star of the 24 spin-off series 60). Blitz went so far as to travel to India for one bit in which he carried his computer through the streets of India to get technical support firsthand from the telephone representative at NBC's technical help center.
Several writing staff interns have gone on to become noted actors or writers including Vanessa Bayer, John Krasinski, Mindy Kaling, Ellie Kemper and Jack McBrayer.
Sketch actors and cameo appearancesLate Night employed a number of sketch actors, many of whom were frequently reused in different roles in different episodes. Several years before joining the cast of Saturday Night Live, and for playing the role of Leslie Knope on another NBC TV show, Parks and Recreation, Amy Poehler often appeared as a regular in many sketches, though she was best remembered for playing the recurring role of Andy Richter's Conan-obsessed teenage sister, Stacy. Other notable comedians such as Jack McBrayer, Rob Riggle, Rob Corddry, H. Jon Benjamin, Ellie Kemper, Bobby Moynihan, Matt Besser, Ian Roberts, Matt Walsh and Andrew Daly also frequently appeared as sketch actors on the show for several years. Triumph the Insult Comic Dog (created and voiced by original head writer Robert Smigel) began as part of a sketch on Late Night. Celebrities such as Dr. Joyce Brothers, Nipsey Russell, Abe Vigoda, James Lipton, Bob Saget and William Preston as the character Carl 'Oldy' Olsen also made frequent cameo appearances in comedy sketches on the show at different periods. One of the show's graphic designers, Pierre Bernard, was featured in several sketches, such as "Pierre Bernard's Recliner of Rage" and "Nerding It Up For Pierre".
Celebrity guests of the night would also occasionally appear in sketches either during their interviews or during the earlier comedy segments, e.g. in "In the year 2000" (which always included the participation of a celebrity guest after Andy Richter left the show) or a sketch where Conan would pretend to write in his diary while an attractive female guest was there. Quite rare for a talk show, sometimes interviews began normally but turned into sketches with both the guest and Conan participating, usually when the guest was a "friend of the show."
Costumed characters
Unusual for a late night talk show, Late Night made frequent use of various costumed characters such as The Masturbating Bear, Robot on a Toilet, and Pimpbot 5000. The humor in these sketches often derived from the crude construction of the characters' costumes as well as the absurdist nature of their conceptions. For example, Pimpbot 5000 was a 1950s-style robot who dressed and acted in the manner of an exaggerated blaxploitation pimp, while The Masturbating Bear was a man in a bear costume wearing an oversized diaper who would invariably begin to fondle himself to the tune of Aram Khachaturian's "Sabre Dance" when brought on stage. Many of these characters did little more in their appearances than walk across the stage or be wheeled out from behind the curtain, but some had extensive sketches on the show.
Appearances in other shows
The show made a cameo appearance in the Sesame Street special Elmopalooza, where Conan was interviewing two aliens while Big Bird was passing by them carrying a video tape.
The show also made an appearance on The Simpsons in the episode "Bart Gets Famous", where Conan interviews a now famous Bart.
ProductionLate Night was a production of Lorne Michaels's Broadway Video (and, since 2003, O'Brien's Conaco). It was taped in Studio 6A in the GE Building at 30 Rockefeller Plaza in New York City. Next to the door were framed pictures of Letterman, Carson, Jack Paar and Steve Allen, each of whose groundbreaking late-night shows originated from studio 6A or 6B (where The Tonight Show Starring Jimmy Fallon is currently taped). The studio holds just over 200 audience members. It was taped at about 5:30 pm as an uninterrupted hour-long program, with the band playing music through the portions that would be filled by commercials. Generally, shows were taped at 5:30 pm Monday through Friday, although for much of the show's run, reruns would be aired on Mondays and the show would not tape that day.
The show's format consisted of an opening monologue from O'Brien, followed by various "desk bits". These generally included several brief sketches, recurring segments, or some other form of comedy. Typically O'Brien would play the 'straight man' role to the general absurdity of the comedy, treating the material or wacky nature of the sketches with sincerity. In the show's second and fourth segments, O'Brien interviewed two celebrity guests, between which, in the third segment, O'Brien listed the next night's/week's guests. There was often a comedy bit as well during this segment. The show's fifth segment was usually reserved for a musical or stand-up comedy performance, or occasionally another guest interview. The show's final segment was usually a quick "goodnight" and the closing credits, which sometimes featured part of a bit from earlier in the show. Quite rare for a talkshow, frequently comedy segments would also spill into the interviews, typically when a guest was a 'friend'of the show.
During the live tapings, and prior to the show, there was an audience warm-up, during which the audience watched a montage of highlights from the show, and staff writer Brian McCann greeted the audience (this task was formerly undertaken by head writer Mike Sweeney). McCann delivered a few jokes, told the audience what to expect, and finally introduced the band and then O'Brien. O'Brien then thanked the audience for coming, meeting as many audience members as he could. He would often then do a musical number with the band to pump up the audience (Burning Love was one standard). After the show was finished taping, O'Brien sang the "End of the Show Song", which never aired on Late Night, although in February 2009, a short video of it was posted on Late Night Underground. The End of the Show Song finally did reach air on January 21, 2010, his penultimate show as Tonight Show host. It also was aired on the March 29, 2012 episode of Conan. The tradition of singing The End of the Show Song has continued, un-aired as usual, on Conan.
BroadcastLate Night began broadcasting in 1080i ATSC on April 26, 2005, with a downscaled letterboxed NTSC simulcast (unlike The Tonight Show, whose NTSC simulcast is fullscreen). O'Brien celebrated the conversion to the widescreen HDTV format with jokes throughout the week.
On December 6, 2005 Late Night with Conan O'Brien segments began selling on the iTunes Store. Most segments were priced at $1.99, as were most episodes of other shows, with "special" best-ofs and other longer segments priced at $9.99. In December, 2007 NBC stopped selling all its television shows on iTunes, but the network returned it to iTunes in September 2008 after NBC and Apple worked out a new agreement. The show was offered free at Hulu.com and the NBC website but has been unavailable on the Internet since the 2010 Tonight Show conflict. However, in May 2018, O'Brien and his current network, TBS, announced they would partner with NBC to make his entire Late Night archives available online, marking the 25th anniversary of O'Brien's late night debut.
Special episodes
Remote pieces and episodes shot on location
Remote pieces shot on location were a recurring staple on Late Night, but occasionally, entire episodes were shot on location, usually during sweeps months. The first vacation for the show was a week-long stint of shows in Los Angeles the week of November 9–12, 1999. This was the only location week for the show while Andy Richter was with the show, and the only time the show's theme was altered for the week, with a more surf-style version of the show's normal theme (though the Toronto shows ended the normal theme with a piece of "O Canada"). The show was broadcast from NBC's L.A. studios (NBC Studios Burbank) and an L.A.-themed set was built, very similar in layout to the New York set.
From February 10–13, 2004, Late Night broadcast from the Elgin Theatre in Toronto, Canada. The guests for these episodes were all Canadians (with the exception of Adam Sandler), and included such stars as Jim Carrey and Mike Myers. As the show was taped at a theater, unlike the trip to L.A., the set built was not like the show's standard set.
From May 9–12, 2006, the show made a similar venture to the Chicago Theatre in Chicago, Illinois, taking cues from their previous trip to Toronto. Between April 30 – May 4, 2007, the show originated from the Orpheum Theatre in San Francisco.
In a sketch called "Conan O'Brien Hates My Homeland", Conan mocked every nation in the world to see which ones he gets letters from. An announcer on the Finnish entertainment channel SubTV, which airs the show a couple of days after it is aired in the US, asked people to defend Finland before Conan got to insult it, and the viewers in Finland began sending mail before the bit had even gotten to the letter F. Conan responded by assuming the Finnish "just couldn't wait" to be insulted and officially insulted Finland in the segment. An overwhelming number of postcards were supposedly received, which apparently "forced" Conan to give Finland a formal apology. Conan then went as far as to have the flag of Finland shown in the background during a speech and slandered the Finns' "hated" neighbor Sweden with a sign saying "Sweden Sucks!" printed over the flag of Sweden. It would seem that this chain of events led to elevated ratings in Finland and subsequently also sparked a special relationship with the viewers in Finland. Later when Conan was talking to audience members before the show, a group of fans visiting from Finland commented that he resembled their female president Tarja Halonen. Conan mentioned the resemblance on his show, even showing pictures of Halonen next to himself. When he discovered that Halonen was up for reelection he began making satirical commercials in support of Halonen and vowed to travel to Finland to meet her if she won re-election. When she did indeed win re-election in January 2006, Conan traveled to Finland and met with her. One episode, broadcast on March 10, 2006, was compiled mainly of footage from O'Brien's trip to Finland. In the episode, Conan greeted fans at the airport, participated in a Sami cultural ceremony, appeared on a Finnish talk show, and attempted to visit a fan who had written to him. The episode was not strictly taped as a live episode there, however, but was prefaced by an introduction by O'Brien taped in New York. The Finland episode came as the culmination of a long-running joke on the show.
Aside from location shows, the show also did special one-shots in its early years. In 1995, one episode of the show was taped aboard a New York City ferry in New York Harbor. Dubbed "The Show on a Boat" by the showtunes-style song-and-dance number performed by a trio of "sailors" at the start of the show, O'Brien, Richter, the band and guests were all crammed onto the deck of the ferry. The show was taped at its normal afternoon time, while it was still light out.
Technical and production difficulties
A more unexpected shoot occurred on October 10, 1996, when a five-alarm fire in Rockefeller Plaza rendered the 6A studios out of commission for the remainder of that week. The fire occurred on early Thursday morning, which left O'Brien's staff precious little time to assemble a show elsewhere. Pressed for time as 12:35 approached, O'Brien taped the show outside, after dark, despite the cold weather, on a makeshift set with the Prometheus statue and 30 Rock serving as a backdrop. Furthering the unfortunate nature of the evening's circumstances was the final guest, Julie Scardina, who brought along wild animals, including birds that Conan explained had to be kept tied up, as they could not be freed outside. Earlier in the show, O'Brien and Richter walked into Brookstone (located in the lobby of Rockefeller Center), camera crew in tow, and bought a massaging leather recliner for the first guest, Samuel L. Jackson. The second of the two "fire shows", on Friday night, was taped in the Today Show studio, which was not affected by the fire.
During the Northeast Blackout of 2003, O'Brien and the staff taped a short 10-minute introduction explaining that the episode they had planned would not be taking place due to the blackout. Studio 6A was powered by a generator and lit by battery-powered floodlights. A standby show was aired in-progress after the intro. One of the scheduled guests that night, The Dandy Warhols, commandeered the studio's green room, where they stayed until they performed on the show the next night.
Gimmick episodes
Other shows that were taped in the regular 6A studio were augmented by special gimmicks:
A lot of high-concept gimmick episodes were done in the early years of the show, such as a 1994 episode literally done in a giant hole, a 1995 show done entirely on a boat of the circle line or "Time Travel Week", four episodes from early 1996, where Conan and Andy (and the rest of the crew) "time-traveled" to a different point in time each night. Times and locations included The Civil War, Ancient Greece, The future, and The early '80s (featuring a cameo by David Letterman in the cold open, who occupied Conan's studio in 1983, cruelly brushing off Conan and Andy's attempt at explaining their presence in Letterman's dressing room by saying, "Why don't you two fellas go find a nice, warm place to screw yourselves? Security!").
In 1997, a special episode was taped in which the studio audience was composed solely of grade-school age children, primarily 5–10 years of age. Conan interacted with the children, encouraging them to laugh and cheer to keep away the boredom monster.
The February 19, 1998 episode was aired against coverage of the 1998 Winter Olympics on CBS, and therefore, Conan assumed no one was watching, and they could do anything. He and Andy took to performing increasingly outrageous acts, such as Conan revealing a Hanson T-shirt under his shirt and tie, and confessing his hatred for the NBC screen bug, going as far as to kill it with a can of Raid. He and Andy also smoked on the air (with a cutaway showing a mother finding her two kids imitating Conan), Max Weinberg confessed to killing Bruce Springsteen's previous drummer, as well as a number of other people he didn't like (even showing a map of where he buried them), Al Roker walked into the studio and confessed he never liked the weather, and Conan asked a female audience member to have consensual sex with him, which the woman vehemently refused. The event became known as "Nobody's Watching".
The October 18, 2002 episode was re-shot entirely in clay animation nearly seven months after its first airing, including the opening credits and commercial bumpers. The episode's originally broadcast soundtrack was retained while the visuals were reproduced to mirror the original footage in a small-scale reproduction of the studio 6A.
On October 31, 2006, a similarly conceptualized Halloween episode was created from an episode which originally aired in May and featured Larry King, among other guests. Using a process the show called "Skelevision", all the visuals were re-shot with a Halloween motif, with human skeletons adorned with the clothing and accessories of the humans. This re-shoot was shot using the actual studio, and the puppeteers moved the skeletons with wires and cables while being visually obscured by green screen technology. Once again, the opening and bumpers were altered, this time including a model of a hearse winding through a foggy landscape and cemetery, and the voice of Bill Hader as Vincent Price in place of Joel Godard.
U2 exclusive
The October 5, 2005 episode of Late Night was devoted entirely to the band U2, marking the first time in the show's then 13-year run that it had devoted an entire show to a single guest. Jim Pitt, the talent executive in charge of booking acts for the show, remarked that in his 12 years of working for Late Night, U2 and Johnny Cash were the "dream artists" he'd tried, but never succeeded in getting. The band performed three songs, two more than the customary one song, then had a lengthy interview with Conan.
Episodes during the 2007–2008 writer's strike
After two months of being off-air, the first show to air during the 2007–2008 Writers Guild of America strike on January 2, 2008 featured a small musical segment at the beginning of the show detailing O'Brien's newly grown beard in a show of support for the striking writers. At the beginning of the January 28 episode, it was revealed that Conan had shaved his beard, which was followed with a similar musical segment.
Several times during the episodes produced during the writer's strike, O'Brien would kill time by spinning his wedding ring on his desk, which he previously only did during rehearsals. His personal best was 41 seconds, achieved during an un-aired rehearsal. After several unsuccessful on-air attempts to break his record, during the show originally broadcast on February 9, 2008, O'Brien broke his record for endurance ring spinning, setting a time of 51 seconds by coating his wedding ring with Vaseline and spinning it on a Teflon surface. The feat was accomplished with the help of MIT physics professor Peter Fisher. These episodes are considered by most fans to be the magnum opus of O'Brien's television career, considering the spontaneity of each episode. The strike also gave rise to associate producer Jordan Schlansky's repeated appearances on the show as an embellished version of himself.
"Feud" with Jon Stewart and Stephen Colbert
Early on in the later half of the 2007–2008 Writer's Guild strike, Conan O'Brien accused his show of being the sole cause of presidential candidate Mike Huckabee's status in the polls, due to his use of the Walker, Texas Ranger Lever while Chuck Norris was coincidentally sponsoring Huckabee. Stephen Colbert made the claim that because of "the Colbert bump," he was responsible for Huckabee's current success in the 2008 presidential race. O'Brien claimed that he was responsible for Colbert's success because he had made mention of him on his show. In response, Jon Stewart, host of The Daily Show, claimed that he was responsible for the success of O'Brien, and in turn the success of Huckabee and Colbert. This resulted in a three-part comedic battle among the three hosts, with all three appearing on each other's shows. The feud ended on Late Night with an all-out mock brawl between the three talk-show hosts.
Anniversary episodes
In 1996, a third anniversary episode was taped, though it aired in the regular 12:35/11:35 late night time slot. The show was composed of clips of the best of the first three years, and featured cameos from many former guests, including Janeane Garofalo, Scott Thompson, Tony Randall and George Wendt. Typical of O'Brien's style of comedy, he introduced his first guest (Wendt) by listing his notable achievements in television (particularly Cheers) then introduced each subsequent guest by repeatedly listing Wendt's achievements (insinuating that all of his guests for that night's show played the role of Norm on Cheers). In 1998, Late Night aired a fifth anniversary special in prime time, mostly consisting of clips from the first five years. It was taped in the Saturday Night Live studio, also in the GE Building. The special was later sold on VHS tape. In 2003, a similar tenth anniversary special was taped in New York City's famed Beacon Theatre and later made available on DVD.
The final episodeLate Night with Conan O'Briens last episode was recorded February 20, 2009, and aired shortly after midnight that next morning. The episode featured clips from past shows and a reflection on the show's sixteen-year-long run. John Mayer sent a farewell video message, singing a song about how Los Angeles is "going to eat [Conan] alive." In a short remote piece, Conan released regular contributor Abe Vigoda "into the wild," as he could not bring him to Los Angeles for the move to The Tonight Show. Will Ferrell made a surprise visit as George W. Bush, which quickly devolved into Ferrell tearing off his business suit to reveal an ill-fitting green leprechaun outfit that had been worn in a number of previous appearances on the show.
Former sidekick Andy Richter, who re-joined O'Brien when he took over The Tonight Show in June, joined O'Brien onstage for two segments, watching clips and reminiscing about the show. Among the clips shown, O'Brien noted that his all-time favorite Late Night piece was when he attended a re-enactment of an American Civil War-era baseball game, played at a Long Island, New York museum, Old Bethpage Village Restoration. During the course of the final week, O'Brien began violently dismantling and handing out pieces of the production set to the audience. In the final show, a large piece of the stage's frame was pulled down and chopped into pieces. O'Brien then promised to give each audience member in attendance a piece of the set.
One of Conan's favorite bands, The White Stripes, performed a new, slower arrangement of their song "We're Going to Be Friends" based on Conan's lullaby rendition of the song, with drummer Meg White playing second guitar and singing along with vocalist/guitarist Jack White. The performance proved to be the band's last before their breakup in February 2011. The program concluded with a visibly emotional O'Brien giving a farewell speech from behind his desk, thanking his fans, writers, producers, backstage crew, his family, the Max Weinberg 7, David Letterman, Joel Godard, Jay Leno, and Lorne Michaels, as well as a final assurance that he would not "grow up" as he moved to The Tonight Show.
About 3.4 million viewers watched O'Brien's final episode of Late Night, the largest audience since the January 24, 2005 episode that followed Jay Leno's tribute to Johnny Carson.
After the end of the series, Studio 6A at Rockefeller Center was remodeled for The Dr. Oz Show. In the summer of 2013, NBC moved Late Night with Jimmy Fallon to Studio 6A while 6B, which housed Late Night since Fallon succeeded O'Brien in 2009, was being renovated when Fallon took over The Tonight Show on February 17, 2014 while The Dr. Oz Show moved to ABC's Upper West Side studios.
Awards and nominations
Set design
O'Brien's Late Night had three longterm permanent sets, but retained the basic structure used when Letterman occupied Studio 6A: the performance space at the viewer's left, and the desk area, to the viewer's right, where interviews were done. O'Brien did his monologue in the performance area, emerging at the start of each episode from the area where musical guests perform. The Max Weinberg 7 were in the corner made by the stage-right wall and the wall in front of the audience. The desk area had a desk for O'Brien, a chair and couch(es) to the viewer's left for guests (and originally Andy Richter), and a coffee table.
Primarily, set changes involved the background behind the desk and chair and couch. The original set, used from the show's debut in 1993 until the fall of 1996, was primarily yellow, and the desk background resembled the living room of a New York City apartment, with windows that looked out at a Manhattan backdrop. For years afterwards, O'Brien mocked this original set, particularly its "mustard color". The two subsequent set designs featured darker blues and violets to emulate the feel of nighttime, with the final set featuring a balcony railing in front of a backdrop with the view from the top of Rockefeller Center. This set debuted on September 4, 2001 and necessitated changes almost instantly as its backdrop view of New York City contained the World Trade Center, which was destroyed a week later. A special curtain was used to obstruct the towers temporarily, until eventually the curtain became a permanent part of the set design even after the backdrop was altered. During his final week of episodes, Conan took an axe to parts of the set, giving it out to audience members as souvenirs, not wanting to allow it to simply be thrown away.
International broadcasts
CNBC Europe used to air Late Night with Conan O'Brien on weeknights from 11:45 pm–12:30 am CET, with weekend editions on Saturdays and Sundays at 9:45 pm–10:30 pm CET. However, in March 2007, CNBC Europe decided to show only the weekend editions, and drop the weeknight editions, to make way for more business news programmes in their weeknight schedules.
On the week of August 4, 2008, however, CNBC Europe has discontinued showing the NBC Nightly News, which for many years was shown live from America in a 12:30 am–1:00 am CET slot. Late Night with Conan O'Brien has now replaced NBC Nightly News in the 12:30 am–1:00 am slot. The weeknight editions are a 30-minute condensed version of the show. The show follows the weeknight condensed version of The Tonight Show with Jay Leno which airs at 12:00 am CET.
In September 2008, CNBC Europe changed the weeknight schedules to include full uncut editions of Late Night with Conan O'Brien broadcast in the 11:45 am CET/10:45 pm GMT 45-minute time slot. This schedule usually runs from Tuesdays to Fridays. CNBC Europe decided to stop broadcasting Late Night as of January 1, 2009, a mere two months before Conan's last show as host. Instead of following The Tonight Show reruns on weekends, CNBC now broadcasts two Tonight Show episodes in a row.
See also
List of Late Night with Conan O'Brien sketches
List of Late Night with Conan O'Brien characters
List of Late Night with Conan O'Brien episodes
Pale Force
The Tonight Show with Conan O'Brien''
List of late night network TV programs
References
Further reading
External links
Joseph Konopka scenic art journals for Late Night with Conan O'Brien, 1993-2009, held by the Billy Rose Theatre Division, New York Public Library for the Performing Arts
1993 American television series debuts
2009 American television series endings
1990s American late-night television series
2000s American late-night television series
1990s American television talk shows
2000s American television talk shows
CNBC Europe original programming
English-language television shows
O'Brien, Conan
NBC original programming
Primetime Emmy Award-winning television series
Television series by Universal Television
Television shows set in New York City
American television shows featuring puppetry
Conan O'Brien
Television series by Broadway Video
Television series by Conaco
Television shows filmed in New York City
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[
"Skip and Shannon: Undisputed is an American sports talk show starring Skip Bayless and Shannon Sharpe. The series premiered on Fox Sports 1 on September 6, 2016.\n\nTheme song\nThe show's opening theme song, \"No Mercy\", was recorded by American rapper Lil Wayne, a friend of Bayless' and a frequent guest from his former ESPN show First Take. The song was written and produced by Jared Gutstadt, president and CCO of Jingle Punks Music, which had partnered with Fox Sports prior to the show's launch. The full-length version of \"No Mercy\" was released by Cash Money Records to iTunes in September 2016, and Lil Wayne appeared on Undisputeds inaugural episode on September 6 and has since regularly made guest appearances.\n\nViewership\nUndisputed averaged 107,000 viewers per episode from September 9 to December 31, 2016, and 155,000 viewers during 2017, representing a 45% increase in viewership. During July 24–28 of that year, it averaged 136,000 viewers, 65,000 of which were adults in the 18–49 years of age range. Compared to competing weekday morning sports programs in the same time slot, it outdrew ESPN2's edition of Sportscenter (117,000) but fell behind First Take (320,000) in overall viewership.\n\nIn 2018, Undisputed averaged 165,000 viewers, and in 2019 (through August 9, 2019) averaged 169,000 viewers.\n\nIn 2021, the show averaged 199,000 viewers during the month of October, which beat the show's previous October peak of 182,000 viewers in 2019 and granting the show its most successful October to date.\n\nAs of September 2020, the series' highest-rated broadcast occurred during Black Friday in 2019, when the show averaged 366,000 viewers.\n\nReferences\n\nFurther reading\n \n \n\n2010s American television talk shows\n2016 American television series debuts\nAmerican sports television series\nFox Sports 1 original programming",
"World Series of Fighting 2: Arlovski vs. Johnson was a mixed martial arts event held on at the Revel Casino in Atlantic City, New Jersey, United States.\n\nBackground\nAnthony Johnson moved up to Heavyweight to face Andrei Arlovski.\nAccording to a press release, the event peaked with 332,000 live viewers on NBC Sports Network, a peak increase of 46 percent from the promotion's inaugural event in November that peaked with 228,000 viewers.\nThe average didn't increase nearly as impressively as the peak, but it still rose with 210,000 live viewers, compared to the 198,000 average from the first event.\n\nResults\n\nSee also \n List of WSOF champions\n List of WSOF events\n\nReferences\n\nEvents in Atlantic City, New Jersey\nWorld Series of Fighting events\n2013 in mixed martial arts"
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"Late Night with Conan O'Brien",
"Debut",
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"O'Brien's Late Night debuted on September 13, 1993,",
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"The premiere episode featured John Goodman (who received a \"First Guest\" medal for his appearance",
"How did the public take to this show?",
"O'Brien's inexperience was apparent and the show was generally considered mediocre by critics in terms of the host's ability.",
"Did it have any notable actors?",
"Drew Barrymore, and Tony Randall.",
"Did these appearances increase viewers?",
"Stars like Tom Hanks agreed to appear on Late Night, which boosted audience awareness."
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Wht was critics take on the show?
| 6 |
What was critics take on the Late Night with Conan O'Brien,?
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Late Night with Conan O'Brien
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O'Brien's Late Night debuted on September 13, 1993, with Andy Richter chosen as O'Brien's sidekick. The premiere episode featured John Goodman (who received a "First Guest" medal for his appearance), Drew Barrymore, and Tony Randall. The episode featured a cold open of O'Brien's walk to the studio with constant reminders that he was expected to live up to Letterman, parodying a popular sentiment expressed in the media at the time. After seeming to be unaffected by the comments, O'Brien arrives at his dressing room and cheerfully prepares to hang himself. However, a warning that the show is about to start causes him to abandon his plans. O'Brien's inexperience was apparent and the show was generally considered mediocre by critics in terms of the host's ability. The Chicago Sun-Times' Lon Grankhe called O'Brien "nervous, unprepared and generally geeky" and Tom Shales wrote "As for O'Brien, the young man is a living collage of annoying nervous habits. He giggles and titters, jiggles about and fiddles with his cuffs. He has dark, beady little eyes like a rabbit. He's one of the whitest white men ever." (O'Brien wrote for The New York Times a satirical review of the first episode the day it aired titled "O'Brien Flops!", in which he told readers "Frankly, I was not impressed".) The originality and quality of the comedy, however, led by original head writer Robert Smigel, was widely praised. Although O'Brien benefited by comparison from the quick critical and commercial failure of the fellow new late-night The Chevy Chase Show, NBC only offered short-term contracts, 13 weeks at a time and once for six weeks, as widely reported by the press at the time. O'Brien was reportedly almost fired at least once in this period, but NBC had no one to replace him. According to Smigel, "We were basically canceled at Conan, and then they changed their minds in August of '94, gave us a reprieve." According to O'Brien a network executive told him, in regards to Andy Richter, he'd "never succeed until I 'got rid of that big fat dildo.' That was the tone of the conversations between us and the network." It was widely expected that the host of Talk Soup, Greg Kinnear would take over the role, but Kinnear turned down the opportunity and decided to pursue a career in acting. Stars like Tom Hanks agreed to appear on Late Night, which boosted audience awareness. Even Letterman, who admired O'Brien's comic sensibility, appeared as a guest to register his support. O'Brien's performance style improved through experience and he began to receive more favorable reviews and ratings the following year. With the ratings gradually improving over the course of two years, Late Night reached a new level of critical and commercial success in 1996. Tom Shales officially recanted his previous critical review with the headline "I was wrong", and O'Brien received his first Emmy writing nomination, which he has gone on to receive every year since. CANNOTANSWER
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The Chicago Sun-Times' Lon Grankhe called O'Brien "nervous, unprepared and generally geeky
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Late Night with Conan O'Brien is an American late-night talk show hosted by Conan O'Brien that aired 2,725 episodes on NBC from September 13, 1993 to February 20, 2009. The show featured varied comedic material, celebrity interviews, and musical and comedy performances. Late Night aired weeknights at 12:37 am Eastern/11:37 pm Central and 12:37 am Mountain in the United States. From 1993 until 2000, Andy Richter served as O'Brien's sidekick; following his departure, O'Brien was the show's sole featured performer. The show's house musical act was The Max Weinberg 7, led by E Street Band drummer Max Weinberg.
The second incarnation of NBC's Late Night franchise, O'Brien's program debuted in 1993 after David Letterman (who hosted the first incarnation of Late Night) moved to CBS to host Late Show opposite The Tonight Show. In 2004, as part of a deal to secure a new contract, NBC announced that O'Brien would leave Late Night in 2009 to succeed Jay Leno as the host of The Tonight Show. Jimmy Fallon began hosting his version of Late Night on March 2, 2009.
History
Replacing David Letterman
Upon Johnny Carson's retirement from The Tonight Show in 1992, executives at NBC announced that Carson's frequent guest-host Jay Leno would be Carson's replacement, and not David Letterman. NBC later said that Letterman's high ratings for Late Night were the reason they kept him where he was. Letterman was bitterly disappointed and angry at not having been given The Tonight Show job; and, at Carson's advice, he left NBC after eleven years on Late Night. CBS signed Letterman to host his own show opposite The Tonight Show. Letterman moved his show to CBS virtually unchanged, taking most of the staff, skits, and comedy formats with him. However, NBC owned the rights to the Late Night name, forcing Letterman to rename his show Late Show with David Letterman.
NBC was not prepared to replace both Letterman and Late Night. Aside from the name, it needed to build a new show. Both Dana Carvey and Garry Shandling declined to host it. Saturday Night Live producer Lorne Michaels was brought in to develop the new show, and comedians Jon Stewart, Drew Carey, and Paul Provenza auditioned to host. Michaels suggested to Conan O'Brien, an unknown writer for The Simpsons and former writer for Saturday Night Live, that he should audition for the job. Despite having "about 40 seconds" of television-performance experience as an occasional extra on Saturday Night Live sketches, O'Brien auditioned for the show on April 13, 1993. His guests were Jason Alexander and Mimi Rogers, and the audition took place on the set of The Tonight Show with Jay Leno. NBC offered the show to O'Brien on April 26, and O'Brien made his first meaningful television appearance later that day when Leno introduced him on Tonight. On the final episode of his 16-year run, O'Brien stated that he "owed his career to Lorne Michaels."
Debut
O'Brien's Late Night debuted on September 13, 1993, with Andy Richter chosen as O'Brien's sidekick. The premiere episode featured John Goodman, who received a "First Guest" medal for his appearance, Drew Barrymore, and Tony Randall. The episode featured a cold open of O'Brien's walk to the studio with constant reminders that he was expected to live up to Letterman; meanwhile, Tom Brokaw makes a cameo. After seeming to be unaffected by the comments, O'Brien arrives at his dressing room and cheerfully prepares to hang himself. However, a warning that the show is about to start causes him to abandon his plans.
The show's first musical guest was English rock band Radiohead, who performed during the second episode. American singer-songwriter Jonathan Richman was the show's second musical guest.
O'Brien's inexperience was apparent, and the show was generally considered mediocre by critics in terms of hosting. The Chicago Sun-Times Lon Grankhe called O'Brien "nervous, unprepared and generally geeky", and Tom Shales wrote "As for O'Brien, the young man is a living collage of annoying nervous habits. He giggles and titters, jiggles about and fiddles with his cuffs. He has dark, beady little eyes like a rabbit. He's one of the whitest white men ever." (O'Brien wrote for The New York Times a satirical review of the first episode the day it aired titled "O'Brien Flops!", in which he told readers "Frankly, I was not impressed".) The originality and quality of the comedy, however, led by original head writer Robert Smigel, was widely praised. Although O'Brien benefited by comparison from the quick critical and commercial failure of the fellow new late-night The Chevy Chase Show, NBC only offered short-term contracts, 13 weeks at a time and once for six weeks, as widely reported by the press at the time. O'Brien was reportedly almost fired at least once in this period, but NBC had no one to replace him. According to Smigel, "We were basically canceled at Conan, and then they changed their minds in August of '94, gave us a reprieve."
One NBC affiliate, KPRC-TV in Houston, dropped Late Night with Conan O'Brien in September 1994 due to low ratings and was replaced with first-run episodes of The Jenny Jones Show. KPRC reinstated O'Brien's Late Night in the fall of 1996, but scheduled it to air as late as 2:40 a.m. while the station, in addition to The Jenny Jones Show, had aired Extra, Access Hollywood, Ricki Lake, Montel Williams, Inside Edition and a rebroadcast of its 10:00 p.m. newscast between Leno and O'Brien. Houston became the subject of a skit (via classic remote piece) in which O'Brien made impromptu stops at Houston's central bus terminal and the Astrodome to watch an episode of his own show with Houstonians in 1997. KPRC began airing Late Night with Conan O'Brien directly following The Tonight Show with Jay Leno in 2004.
According to O'Brien, NBC network executive Warren Littlefield told him, with regard to Andy Richter, he'd "never succeed until I 'got rid of that big fat dildo.' That was the tone of the conversations between us and the network." It was widely expected that the host of Talk Soup, Greg Kinnear would take over the role, but Kinnear turned down the opportunity. (Kinnear would instead become host of Late Nights then-lead-out program, Later, in February 1994, remaining there for two years before deciding to pursue an acting career.) Stars like Tom Hanks agreed to appear on Late Night, which boosted audience awareness. Even Letterman, who admired O'Brien's comic sensibility, appeared as a guest to register his support. O'Brien's performance style improved through experience, and he began to receive more favorable reviews and ratings the following year. With the ratings gradually improving over the course of two years, Late Night reached a new level of critical and commercial success in 1996. Tom Shales officially recanted his previous critical review with the headline "I was wrong", and O'Brien received his first Emmy nomination for writing, which he received every year until 2011.
1996–2000
In 2000, Richter left Late Night on good terms, to pursue his acting career, a move that emotionally affected O'Brien, as evidenced by Richter's last show. The show's comedy bits and banter had usually depended on O'Brien's interaction with Richter. O'Brien's wacky non-sequitur comedy became more pronounced as he played all of his comedy and commentary directly to the audience and Max Weinberg instead of towards Richter.
2001–2009
In 2002, when time came to renew his contract, O'Brien had notable offers from other networks to defect; Fox was reported to have made particularly strong overtures, pitching him an 11:00 p.m. show. O'Brien decided to re-sign with NBC, however, joking that he initially wanted to make a 13-week deal (a nod to his first contract). He ultimately signed through 2005, indicating that it was symbolic of surpassing Letterman's run with 12 years of hosting.
In 2003, O'Brien's own production company, Conaco, was added as a producer of Late Night. The show celebrated its 10th anniversary, another milestone that O'Brien said he wanted to achieve with his 2002 contract. During the anniversary show, Mr. T handed O'Brien a chain with a large gold "7" on it.
O'Brien's last season on Late Night attracted an average of 1.98 million viewers, compared to 1.92 million viewers for The Late Late Show with Craig Ferguson.
US television ratings (late night talk shows)
Format
Humor
The show was known for its wacky and absurd sophomoric comedic sensibility that is edgier than most other talk shows. Like his Late Night predecessor, David Letterman, the show's humor also had a streak of biting sarcasm and irony. According to Robert Smigel, who served as head writer in 1993, the show's comedic approach was to focus on being different from David Letterman:
Typically O'Brien would play the 'straight man' role to the general absurdity of the comedy, treating the material or wacky nature of the sketches with sincerity. The show had an unusual quantity of comedy and original content rather than other talk shows such as Late Show with David Letterman or The Tonight Show with Jay Leno that relied heavily on recurring segments and 'found' humor. The show was particularly unique in the lack of 'found' humor to derive content from i.e. most content being scripted as opposed to Letterman's Small Town News or Jay Leno's headlines that used this "found humor". O'Brien would often playfully chide his audience for an underwhelming or overly enthusiastic response to his jokes.
Particularly in the early years, comedic sketches overtook all segments on the show, occasionally even interrupting guest interviews and O'Brien's monologue. Frequently sketches would randomly begin without introduction, such as during banter between Richter and O'Brien. A lot of the humor had a fantasy-like quality to it, where inanimate objects would talk or silly characters would disrupt the show. Sometimes a short story would emerge in these sketches with a resolution culminating in a song.
One recurring technique is to superimpose lips onto an existing image, as in the Syncro-Vox limited animation technique, resulting in the speaker saying things often quite out of character.
Although Late Night used political humor, it did so far less frequently than competing shows did. During the 1996 and 2000 presidential election seasons, Late Night was found to be the least politically-oriented late night program. It averaged 310 political jokes per election season, in contrast to the Leno-led Tonight Show with 1,275.
(See List of Late Night with Conan O'Brien sketches for an extensive list)
The Max Weinberg 7
The show's house band was The Max Weinberg 7, led by drummer Max Weinberg. The other six members were Mark Pender on trumpet, Richie "LaBamba" Rosenberg on trombone, Mike Merritt on bass, Jerry Vivino on saxophone and brother Jimmy Vivino on guitar, and Scott Healy on keyboards. Weinberg sometimes took extended leaves of absence to tour with Bruce Springsteen as the drummer for the E Street Band. During his absence, James Wormworth would typically fill in on drums, and the band was led by Vivino under the name Jimmy Vivino and the Max Weinberg 7.
With the departure of Andy Richter from Late Night in May 2000, Max Weinberg assumed a bigger role as an interlocutor for O'Brien's jokes. One common running gag was Max's awkwardness on camera and his apparent lack of chemistry with Conan. Weinberg was often used in sketches as well, which usually revolved around his purported sexual deviance (mostly a penchant for bedding barely legal groupies), although long-running sketches also spoofed Max's lack of knowledge of current affairs.
"LaBamba" was also used as the butt of many of Conan's jokes. These humorous sketches usually revolved around LaBamba's sizeable mustache, his poor acting skills, and his alleged inability to read written music. Mark Pender would often sing songs on the topic of a current event which ended with him screeching uncontrollably and climbing the risers into the audience. All members of the 7 have had successful side careers as studio musicians.
Theme song and other music
The show's opening theme was co-written by composer Howard Shore and John Lurie (of the band The Lounge Lizards). Lurie would later say that he was contracted by Shore to write the theme, and after he turned in the piece, Shore made minimal changes and claimed an unwarranted co-writing credit. Lurie also claimed to have been a finalist for Late Night'''s band leader position, but said producers told him, "Conan thinks you’re funnier than him and that scares him."
As is common in the talk show format, the Max Weinberg 7 performed the show's opening and closing themes, played bumpers into and out of commercial breaks (they actually played through the entire break for the studio audience), and a short piece during O'Brien's crossover to his desk after his monologue. The show's closing theme was called "Cornell Knowledge", and was lifted from Jerry and Jimmy Vivino's first album together. However, on Late Night, it was played at a much quicker tempo than the album version. The band also played a wide variety of songs as bumpers coming to and from commercial breaks and introducing guests—usually popular music from a variety of eras.
Joel Godard
Joel Godard, a long-time announcer for NBC shows, was the program's announcer and a frequent comedy contributor. On the show's final episode, Conan noted that Godard was originally hired to simply announce the show's intro and claimed "nobody thought you'd ever see him", however he was gradually worked into the show's comedy pieces. These bits usually revolved around Godard's supposed homosexual fetishes, deviant sexual habits, substance abuse, and suicidal tendencies. The humor came in part from Godard's delivery. No matter how depressing or deviant the topic being discussed was, he always did so in an exaggeratedly cheerful voice and with a huge smile plastered on his face. Several sketches ended with Godard apparently committing suicide in his announcer's booth.
When Andy Richter left the show in 2000, Joel Godard became more common among sketches.
Writing staff
In the first few seasons of the show, the writing staff consisted of several now-prolific comics including Robert Smigel as the head writer, Bob Odenkirk, Louis C.K., Tommy Blacha and Dino Stamatopoulos. Smigel left his position as head writer of the show in 1995 to pen several movies but continued to appear on the show to do bits as Triumph the Insult Comic Dog and the 'Satellite Interviews'. Jonathan Groff took over his position until replaced by Mike Sweeney in 2001.
Members of the show's writing staff frequently appeared in sketches on the show. Among the most prolific were: Brian McCann (Preparation H Raymond, FedEx Pope, The Loser, Airsick Moth, Jerry Butters, Awesome Dave, Funhole Guy, Bulletproof Legs Guy, Adrian "Raisin" Foster, S&M Lincoln, etc.), Brian Stack (Hannigan the Traveling Salesman, Artie Kendall the Ghost Crooner, The Interrupter, Kilty McBagpipes, Fan-tastic Guy, Clive Clemmons, Frankenstein, Ira, Slipnut Brian, etc.), Jon Glaser (Segue Sam, Pubes, Awareness Del, Wrist Hulk, Ahole Ronald, Gorton's Fisherman, Jeremy, Slipnut Jon, etc.), Kevin Dorff (Coked-up Werewolf, Jesus Christ, Mansy the half-man/half-pansy, Joe's Bartender, Todd the Tiny Guy, etc.), and Andy Blitz (Awful Ballgame Chanter, Vin Diesel's brother Leonard Diesel, Slipnut Andy, Chuck Aloo aka the star of the 24 spin-off series 60). Blitz went so far as to travel to India for one bit in which he carried his computer through the streets of India to get technical support firsthand from the telephone representative at NBC's technical help center.
Several writing staff interns have gone on to become noted actors or writers including Vanessa Bayer, John Krasinski, Mindy Kaling, Ellie Kemper and Jack McBrayer.
Sketch actors and cameo appearancesLate Night employed a number of sketch actors, many of whom were frequently reused in different roles in different episodes. Several years before joining the cast of Saturday Night Live, and for playing the role of Leslie Knope on another NBC TV show, Parks and Recreation, Amy Poehler often appeared as a regular in many sketches, though she was best remembered for playing the recurring role of Andy Richter's Conan-obsessed teenage sister, Stacy. Other notable comedians such as Jack McBrayer, Rob Riggle, Rob Corddry, H. Jon Benjamin, Ellie Kemper, Bobby Moynihan, Matt Besser, Ian Roberts, Matt Walsh and Andrew Daly also frequently appeared as sketch actors on the show for several years. Triumph the Insult Comic Dog (created and voiced by original head writer Robert Smigel) began as part of a sketch on Late Night. Celebrities such as Dr. Joyce Brothers, Nipsey Russell, Abe Vigoda, James Lipton, Bob Saget and William Preston as the character Carl 'Oldy' Olsen also made frequent cameo appearances in comedy sketches on the show at different periods. One of the show's graphic designers, Pierre Bernard, was featured in several sketches, such as "Pierre Bernard's Recliner of Rage" and "Nerding It Up For Pierre".
Celebrity guests of the night would also occasionally appear in sketches either during their interviews or during the earlier comedy segments, e.g. in "In the year 2000" (which always included the participation of a celebrity guest after Andy Richter left the show) or a sketch where Conan would pretend to write in his diary while an attractive female guest was there. Quite rare for a talk show, sometimes interviews began normally but turned into sketches with both the guest and Conan participating, usually when the guest was a "friend of the show."
Costumed characters
Unusual for a late night talk show, Late Night made frequent use of various costumed characters such as The Masturbating Bear, Robot on a Toilet, and Pimpbot 5000. The humor in these sketches often derived from the crude construction of the characters' costumes as well as the absurdist nature of their conceptions. For example, Pimpbot 5000 was a 1950s-style robot who dressed and acted in the manner of an exaggerated blaxploitation pimp, while The Masturbating Bear was a man in a bear costume wearing an oversized diaper who would invariably begin to fondle himself to the tune of Aram Khachaturian's "Sabre Dance" when brought on stage. Many of these characters did little more in their appearances than walk across the stage or be wheeled out from behind the curtain, but some had extensive sketches on the show.
Appearances in other shows
The show made a cameo appearance in the Sesame Street special Elmopalooza, where Conan was interviewing two aliens while Big Bird was passing by them carrying a video tape.
The show also made an appearance on The Simpsons in the episode "Bart Gets Famous", where Conan interviews a now famous Bart.
ProductionLate Night was a production of Lorne Michaels's Broadway Video (and, since 2003, O'Brien's Conaco). It was taped in Studio 6A in the GE Building at 30 Rockefeller Plaza in New York City. Next to the door were framed pictures of Letterman, Carson, Jack Paar and Steve Allen, each of whose groundbreaking late-night shows originated from studio 6A or 6B (where The Tonight Show Starring Jimmy Fallon is currently taped). The studio holds just over 200 audience members. It was taped at about 5:30 pm as an uninterrupted hour-long program, with the band playing music through the portions that would be filled by commercials. Generally, shows were taped at 5:30 pm Monday through Friday, although for much of the show's run, reruns would be aired on Mondays and the show would not tape that day.
The show's format consisted of an opening monologue from O'Brien, followed by various "desk bits". These generally included several brief sketches, recurring segments, or some other form of comedy. Typically O'Brien would play the 'straight man' role to the general absurdity of the comedy, treating the material or wacky nature of the sketches with sincerity. In the show's second and fourth segments, O'Brien interviewed two celebrity guests, between which, in the third segment, O'Brien listed the next night's/week's guests. There was often a comedy bit as well during this segment. The show's fifth segment was usually reserved for a musical or stand-up comedy performance, or occasionally another guest interview. The show's final segment was usually a quick "goodnight" and the closing credits, which sometimes featured part of a bit from earlier in the show. Quite rare for a talkshow, frequently comedy segments would also spill into the interviews, typically when a guest was a 'friend'of the show.
During the live tapings, and prior to the show, there was an audience warm-up, during which the audience watched a montage of highlights from the show, and staff writer Brian McCann greeted the audience (this task was formerly undertaken by head writer Mike Sweeney). McCann delivered a few jokes, told the audience what to expect, and finally introduced the band and then O'Brien. O'Brien then thanked the audience for coming, meeting as many audience members as he could. He would often then do a musical number with the band to pump up the audience (Burning Love was one standard). After the show was finished taping, O'Brien sang the "End of the Show Song", which never aired on Late Night, although in February 2009, a short video of it was posted on Late Night Underground. The End of the Show Song finally did reach air on January 21, 2010, his penultimate show as Tonight Show host. It also was aired on the March 29, 2012 episode of Conan. The tradition of singing The End of the Show Song has continued, un-aired as usual, on Conan.
BroadcastLate Night began broadcasting in 1080i ATSC on April 26, 2005, with a downscaled letterboxed NTSC simulcast (unlike The Tonight Show, whose NTSC simulcast is fullscreen). O'Brien celebrated the conversion to the widescreen HDTV format with jokes throughout the week.
On December 6, 2005 Late Night with Conan O'Brien segments began selling on the iTunes Store. Most segments were priced at $1.99, as were most episodes of other shows, with "special" best-ofs and other longer segments priced at $9.99. In December, 2007 NBC stopped selling all its television shows on iTunes, but the network returned it to iTunes in September 2008 after NBC and Apple worked out a new agreement. The show was offered free at Hulu.com and the NBC website but has been unavailable on the Internet since the 2010 Tonight Show conflict. However, in May 2018, O'Brien and his current network, TBS, announced they would partner with NBC to make his entire Late Night archives available online, marking the 25th anniversary of O'Brien's late night debut.
Special episodes
Remote pieces and episodes shot on location
Remote pieces shot on location were a recurring staple on Late Night, but occasionally, entire episodes were shot on location, usually during sweeps months. The first vacation for the show was a week-long stint of shows in Los Angeles the week of November 9–12, 1999. This was the only location week for the show while Andy Richter was with the show, and the only time the show's theme was altered for the week, with a more surf-style version of the show's normal theme (though the Toronto shows ended the normal theme with a piece of "O Canada"). The show was broadcast from NBC's L.A. studios (NBC Studios Burbank) and an L.A.-themed set was built, very similar in layout to the New York set.
From February 10–13, 2004, Late Night broadcast from the Elgin Theatre in Toronto, Canada. The guests for these episodes were all Canadians (with the exception of Adam Sandler), and included such stars as Jim Carrey and Mike Myers. As the show was taped at a theater, unlike the trip to L.A., the set built was not like the show's standard set.
From May 9–12, 2006, the show made a similar venture to the Chicago Theatre in Chicago, Illinois, taking cues from their previous trip to Toronto. Between April 30 – May 4, 2007, the show originated from the Orpheum Theatre in San Francisco.
In a sketch called "Conan O'Brien Hates My Homeland", Conan mocked every nation in the world to see which ones he gets letters from. An announcer on the Finnish entertainment channel SubTV, which airs the show a couple of days after it is aired in the US, asked people to defend Finland before Conan got to insult it, and the viewers in Finland began sending mail before the bit had even gotten to the letter F. Conan responded by assuming the Finnish "just couldn't wait" to be insulted and officially insulted Finland in the segment. An overwhelming number of postcards were supposedly received, which apparently "forced" Conan to give Finland a formal apology. Conan then went as far as to have the flag of Finland shown in the background during a speech and slandered the Finns' "hated" neighbor Sweden with a sign saying "Sweden Sucks!" printed over the flag of Sweden. It would seem that this chain of events led to elevated ratings in Finland and subsequently also sparked a special relationship with the viewers in Finland. Later when Conan was talking to audience members before the show, a group of fans visiting from Finland commented that he resembled their female president Tarja Halonen. Conan mentioned the resemblance on his show, even showing pictures of Halonen next to himself. When he discovered that Halonen was up for reelection he began making satirical commercials in support of Halonen and vowed to travel to Finland to meet her if she won re-election. When she did indeed win re-election in January 2006, Conan traveled to Finland and met with her. One episode, broadcast on March 10, 2006, was compiled mainly of footage from O'Brien's trip to Finland. In the episode, Conan greeted fans at the airport, participated in a Sami cultural ceremony, appeared on a Finnish talk show, and attempted to visit a fan who had written to him. The episode was not strictly taped as a live episode there, however, but was prefaced by an introduction by O'Brien taped in New York. The Finland episode came as the culmination of a long-running joke on the show.
Aside from location shows, the show also did special one-shots in its early years. In 1995, one episode of the show was taped aboard a New York City ferry in New York Harbor. Dubbed "The Show on a Boat" by the showtunes-style song-and-dance number performed by a trio of "sailors" at the start of the show, O'Brien, Richter, the band and guests were all crammed onto the deck of the ferry. The show was taped at its normal afternoon time, while it was still light out.
Technical and production difficulties
A more unexpected shoot occurred on October 10, 1996, when a five-alarm fire in Rockefeller Plaza rendered the 6A studios out of commission for the remainder of that week. The fire occurred on early Thursday morning, which left O'Brien's staff precious little time to assemble a show elsewhere. Pressed for time as 12:35 approached, O'Brien taped the show outside, after dark, despite the cold weather, on a makeshift set with the Prometheus statue and 30 Rock serving as a backdrop. Furthering the unfortunate nature of the evening's circumstances was the final guest, Julie Scardina, who brought along wild animals, including birds that Conan explained had to be kept tied up, as they could not be freed outside. Earlier in the show, O'Brien and Richter walked into Brookstone (located in the lobby of Rockefeller Center), camera crew in tow, and bought a massaging leather recliner for the first guest, Samuel L. Jackson. The second of the two "fire shows", on Friday night, was taped in the Today Show studio, which was not affected by the fire.
During the Northeast Blackout of 2003, O'Brien and the staff taped a short 10-minute introduction explaining that the episode they had planned would not be taking place due to the blackout. Studio 6A was powered by a generator and lit by battery-powered floodlights. A standby show was aired in-progress after the intro. One of the scheduled guests that night, The Dandy Warhols, commandeered the studio's green room, where they stayed until they performed on the show the next night.
Gimmick episodes
Other shows that were taped in the regular 6A studio were augmented by special gimmicks:
A lot of high-concept gimmick episodes were done in the early years of the show, such as a 1994 episode literally done in a giant hole, a 1995 show done entirely on a boat of the circle line or "Time Travel Week", four episodes from early 1996, where Conan and Andy (and the rest of the crew) "time-traveled" to a different point in time each night. Times and locations included The Civil War, Ancient Greece, The future, and The early '80s (featuring a cameo by David Letterman in the cold open, who occupied Conan's studio in 1983, cruelly brushing off Conan and Andy's attempt at explaining their presence in Letterman's dressing room by saying, "Why don't you two fellas go find a nice, warm place to screw yourselves? Security!").
In 1997, a special episode was taped in which the studio audience was composed solely of grade-school age children, primarily 5–10 years of age. Conan interacted with the children, encouraging them to laugh and cheer to keep away the boredom monster.
The February 19, 1998 episode was aired against coverage of the 1998 Winter Olympics on CBS, and therefore, Conan assumed no one was watching, and they could do anything. He and Andy took to performing increasingly outrageous acts, such as Conan revealing a Hanson T-shirt under his shirt and tie, and confessing his hatred for the NBC screen bug, going as far as to kill it with a can of Raid. He and Andy also smoked on the air (with a cutaway showing a mother finding her two kids imitating Conan), Max Weinberg confessed to killing Bruce Springsteen's previous drummer, as well as a number of other people he didn't like (even showing a map of where he buried them), Al Roker walked into the studio and confessed he never liked the weather, and Conan asked a female audience member to have consensual sex with him, which the woman vehemently refused. The event became known as "Nobody's Watching".
The October 18, 2002 episode was re-shot entirely in clay animation nearly seven months after its first airing, including the opening credits and commercial bumpers. The episode's originally broadcast soundtrack was retained while the visuals were reproduced to mirror the original footage in a small-scale reproduction of the studio 6A.
On October 31, 2006, a similarly conceptualized Halloween episode was created from an episode which originally aired in May and featured Larry King, among other guests. Using a process the show called "Skelevision", all the visuals were re-shot with a Halloween motif, with human skeletons adorned with the clothing and accessories of the humans. This re-shoot was shot using the actual studio, and the puppeteers moved the skeletons with wires and cables while being visually obscured by green screen technology. Once again, the opening and bumpers were altered, this time including a model of a hearse winding through a foggy landscape and cemetery, and the voice of Bill Hader as Vincent Price in place of Joel Godard.
U2 exclusive
The October 5, 2005 episode of Late Night was devoted entirely to the band U2, marking the first time in the show's then 13-year run that it had devoted an entire show to a single guest. Jim Pitt, the talent executive in charge of booking acts for the show, remarked that in his 12 years of working for Late Night, U2 and Johnny Cash were the "dream artists" he'd tried, but never succeeded in getting. The band performed three songs, two more than the customary one song, then had a lengthy interview with Conan.
Episodes during the 2007–2008 writer's strike
After two months of being off-air, the first show to air during the 2007–2008 Writers Guild of America strike on January 2, 2008 featured a small musical segment at the beginning of the show detailing O'Brien's newly grown beard in a show of support for the striking writers. At the beginning of the January 28 episode, it was revealed that Conan had shaved his beard, which was followed with a similar musical segment.
Several times during the episodes produced during the writer's strike, O'Brien would kill time by spinning his wedding ring on his desk, which he previously only did during rehearsals. His personal best was 41 seconds, achieved during an un-aired rehearsal. After several unsuccessful on-air attempts to break his record, during the show originally broadcast on February 9, 2008, O'Brien broke his record for endurance ring spinning, setting a time of 51 seconds by coating his wedding ring with Vaseline and spinning it on a Teflon surface. The feat was accomplished with the help of MIT physics professor Peter Fisher. These episodes are considered by most fans to be the magnum opus of O'Brien's television career, considering the spontaneity of each episode. The strike also gave rise to associate producer Jordan Schlansky's repeated appearances on the show as an embellished version of himself.
"Feud" with Jon Stewart and Stephen Colbert
Early on in the later half of the 2007–2008 Writer's Guild strike, Conan O'Brien accused his show of being the sole cause of presidential candidate Mike Huckabee's status in the polls, due to his use of the Walker, Texas Ranger Lever while Chuck Norris was coincidentally sponsoring Huckabee. Stephen Colbert made the claim that because of "the Colbert bump," he was responsible for Huckabee's current success in the 2008 presidential race. O'Brien claimed that he was responsible for Colbert's success because he had made mention of him on his show. In response, Jon Stewart, host of The Daily Show, claimed that he was responsible for the success of O'Brien, and in turn the success of Huckabee and Colbert. This resulted in a three-part comedic battle among the three hosts, with all three appearing on each other's shows. The feud ended on Late Night with an all-out mock brawl between the three talk-show hosts.
Anniversary episodes
In 1996, a third anniversary episode was taped, though it aired in the regular 12:35/11:35 late night time slot. The show was composed of clips of the best of the first three years, and featured cameos from many former guests, including Janeane Garofalo, Scott Thompson, Tony Randall and George Wendt. Typical of O'Brien's style of comedy, he introduced his first guest (Wendt) by listing his notable achievements in television (particularly Cheers) then introduced each subsequent guest by repeatedly listing Wendt's achievements (insinuating that all of his guests for that night's show played the role of Norm on Cheers). In 1998, Late Night aired a fifth anniversary special in prime time, mostly consisting of clips from the first five years. It was taped in the Saturday Night Live studio, also in the GE Building. The special was later sold on VHS tape. In 2003, a similar tenth anniversary special was taped in New York City's famed Beacon Theatre and later made available on DVD.
The final episodeLate Night with Conan O'Briens last episode was recorded February 20, 2009, and aired shortly after midnight that next morning. The episode featured clips from past shows and a reflection on the show's sixteen-year-long run. John Mayer sent a farewell video message, singing a song about how Los Angeles is "going to eat [Conan] alive." In a short remote piece, Conan released regular contributor Abe Vigoda "into the wild," as he could not bring him to Los Angeles for the move to The Tonight Show. Will Ferrell made a surprise visit as George W. Bush, which quickly devolved into Ferrell tearing off his business suit to reveal an ill-fitting green leprechaun outfit that had been worn in a number of previous appearances on the show.
Former sidekick Andy Richter, who re-joined O'Brien when he took over The Tonight Show in June, joined O'Brien onstage for two segments, watching clips and reminiscing about the show. Among the clips shown, O'Brien noted that his all-time favorite Late Night piece was when he attended a re-enactment of an American Civil War-era baseball game, played at a Long Island, New York museum, Old Bethpage Village Restoration. During the course of the final week, O'Brien began violently dismantling and handing out pieces of the production set to the audience. In the final show, a large piece of the stage's frame was pulled down and chopped into pieces. O'Brien then promised to give each audience member in attendance a piece of the set.
One of Conan's favorite bands, The White Stripes, performed a new, slower arrangement of their song "We're Going to Be Friends" based on Conan's lullaby rendition of the song, with drummer Meg White playing second guitar and singing along with vocalist/guitarist Jack White. The performance proved to be the band's last before their breakup in February 2011. The program concluded with a visibly emotional O'Brien giving a farewell speech from behind his desk, thanking his fans, writers, producers, backstage crew, his family, the Max Weinberg 7, David Letterman, Joel Godard, Jay Leno, and Lorne Michaels, as well as a final assurance that he would not "grow up" as he moved to The Tonight Show.
About 3.4 million viewers watched O'Brien's final episode of Late Night, the largest audience since the January 24, 2005 episode that followed Jay Leno's tribute to Johnny Carson.
After the end of the series, Studio 6A at Rockefeller Center was remodeled for The Dr. Oz Show. In the summer of 2013, NBC moved Late Night with Jimmy Fallon to Studio 6A while 6B, which housed Late Night since Fallon succeeded O'Brien in 2009, was being renovated when Fallon took over The Tonight Show on February 17, 2014 while The Dr. Oz Show moved to ABC's Upper West Side studios.
Awards and nominations
Set design
O'Brien's Late Night had three longterm permanent sets, but retained the basic structure used when Letterman occupied Studio 6A: the performance space at the viewer's left, and the desk area, to the viewer's right, where interviews were done. O'Brien did his monologue in the performance area, emerging at the start of each episode from the area where musical guests perform. The Max Weinberg 7 were in the corner made by the stage-right wall and the wall in front of the audience. The desk area had a desk for O'Brien, a chair and couch(es) to the viewer's left for guests (and originally Andy Richter), and a coffee table.
Primarily, set changes involved the background behind the desk and chair and couch. The original set, used from the show's debut in 1993 until the fall of 1996, was primarily yellow, and the desk background resembled the living room of a New York City apartment, with windows that looked out at a Manhattan backdrop. For years afterwards, O'Brien mocked this original set, particularly its "mustard color". The two subsequent set designs featured darker blues and violets to emulate the feel of nighttime, with the final set featuring a balcony railing in front of a backdrop with the view from the top of Rockefeller Center. This set debuted on September 4, 2001 and necessitated changes almost instantly as its backdrop view of New York City contained the World Trade Center, which was destroyed a week later. A special curtain was used to obstruct the towers temporarily, until eventually the curtain became a permanent part of the set design even after the backdrop was altered. During his final week of episodes, Conan took an axe to parts of the set, giving it out to audience members as souvenirs, not wanting to allow it to simply be thrown away.
International broadcasts
CNBC Europe used to air Late Night with Conan O'Brien on weeknights from 11:45 pm–12:30 am CET, with weekend editions on Saturdays and Sundays at 9:45 pm–10:30 pm CET. However, in March 2007, CNBC Europe decided to show only the weekend editions, and drop the weeknight editions, to make way for more business news programmes in their weeknight schedules.
On the week of August 4, 2008, however, CNBC Europe has discontinued showing the NBC Nightly News, which for many years was shown live from America in a 12:30 am–1:00 am CET slot. Late Night with Conan O'Brien has now replaced NBC Nightly News in the 12:30 am–1:00 am slot. The weeknight editions are a 30-minute condensed version of the show. The show follows the weeknight condensed version of The Tonight Show with Jay Leno which airs at 12:00 am CET.
In September 2008, CNBC Europe changed the weeknight schedules to include full uncut editions of Late Night with Conan O'Brien broadcast in the 11:45 am CET/10:45 pm GMT 45-minute time slot. This schedule usually runs from Tuesdays to Fridays. CNBC Europe decided to stop broadcasting Late Night as of January 1, 2009, a mere two months before Conan's last show as host. Instead of following The Tonight Show reruns on weekends, CNBC now broadcasts two Tonight Show episodes in a row.
See also
List of Late Night with Conan O'Brien sketches
List of Late Night with Conan O'Brien characters
List of Late Night with Conan O'Brien episodes
Pale Force
The Tonight Show with Conan O'Brien''
List of late night network TV programs
References
Further reading
External links
Joseph Konopka scenic art journals for Late Night with Conan O'Brien, 1993-2009, held by the Billy Rose Theatre Division, New York Public Library for the Performing Arts
1993 American television series debuts
2009 American television series endings
1990s American late-night television series
2000s American late-night television series
1990s American television talk shows
2000s American television talk shows
CNBC Europe original programming
English-language television shows
O'Brien, Conan
NBC original programming
Primetime Emmy Award-winning television series
Television series by Universal Television
Television shows set in New York City
American television shows featuring puppetry
Conan O'Brien
Television series by Broadway Video
Television series by Conaco
Television shows filmed in New York City
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"The Wometco Home Theater (WHT) was an early pay television service in the New York City area, that was owned by Miami-based Wometco Enterprises, which owned several major network affiliates in mid-sized media markets and its flagship WTVJ in Miami (then a CBS affiliate on channel 4, now an NBC owned-and-operated station on channel 6). The signals were broadcast beginning in August 1977 on WWHT-TV (channel 68) and later on WSNL-TV (channel 67) out of Smithtown, New York.\n\nOverview\n\nInitially subscribers paid $15 for a set-top descrambling box that allowed subscribers to view channel 68's scrambled television signals (a later addressable, 2-channel version of this descrambler was developed under vice president of engineering, Alex MacDonald). The service was similar to Home Box Office (HBO), but a Wometco executive told The New York Times that WHT was more likely to select films with a particular interest to the New York City area. Wometco also targeted areas that were not yet served by cable television (although parts of Manhattan had cable television service as early as 1971, the vast majority of the five boroughs of New York City would not begin receiving cable television service until 1988).\n\nProgramming consisted of 12 features a month, including movies and entertainment specials. In addition, select home games of the NHL's New York Islanders were broadcast live from the Nassau Veterans Memorial Coliseum. Each program was repeated five times during the month. During the daytime, WWHT was a small commercial television station. The station was originally going to be a general entertainment station with shows that independents WNEW-TV (channel 5), WOR-TV (channel 9) and WPIX (channel 11) passed on. However, the costs were too high to acquire such programs so the station broadcast only a couple hours of low budget syndicated shows, The Uncle Floyd Show, public affairs programs, religious programs, stock market reports, and minority-interest and foreign language programs. In 1980, WHT began programming a movie from 10:30 a.m. to 1 p.m. as well, later adding the adult-themed late night service, \"Nightcap\" with its black cat logo.\n\nIn the fall of 1980, Wometco Enterprises brought in a new management team. The team consisted of Harold Brownstein as the new president, and Robert Borders as vice president of marketing, both of whom had previously worked together at a major BTB direct marketing company. Having operated at $1 million plus loss for over four years, this team turned the operation profitable within 18 months. This was accomplished by consolidating numerous satellite offices/functions into the company's headquarters in Fairfield, New Jersey; producing a bi-monthly program guide (instead of monthly), significantly reducing printing and postage costs; and implementing direct response marketing concepts into the company's multimillion-dollar local television ads, so that the company could determine which markets and promotions generated sales, instead of just awareness.\n\nWHT also employed an MATV division in an effort to expand their viewership by partnering with the real estate community to provide the service to buildings and apartment complexes, using a facility's pre-existing master antenna system. \n \nIn the spring of 1983, WHT also began operating 20 hours a day (increasing its subscription rate to $21/month), with only two hours a day of religious and public affairs shows seen on WWHT. Uncle Floyd moved off Channel 68 and onto NJN. However, the station marketed WHT as 24 hours a day, and the two hours of religious and public affairs shows were positioned as part of WHT's lineup. This block of programming was also unscrambled. Also, another two hours of children's shows were marketed as part of WHT, but also unscrambled. It was at this time that Wometco Home Theater and Wometco Enterprises were sold to the private investment firm of Kohlberg Kravis Roberts & Co.\n\nBy 1984, Wometco Home Theater had ceased its own programming and began carrying programs from California-based pay television service SelecTV. Finally, after losing more and more subscribers over the next two years, WHT ceased operations in March 1986. WSNL and WWHT then switched to an all-music format named \"U68\", similar to MTV, which lasted for about 8 months before both stations were purchased by an affiliate company of the Home Shopping Network. The stations are now owned-and-operated station of the Spanish-language network UniMás.\n\nList of Wometco Home Theater affiliates \nThis list is incomplete, please help by adding stations which carried WHT.\n\nReferences\n\nSee also \nON TV, an over-the-air subscription service that served Chicago, Cincinnati, Dallas/Fort Worth, Detroit, Fort Lauderdale, Los Angeles, Phoenix and Salem/Portland.\nPRISM, an over-the-air and cable television subscription service that served Southeastern Pennsylvania, Southern New Jersey, Delaware and the Delmarva Peninsula.\nSelecTV, an over-the-air subscription service that served Los Angeles, Milwaukee and Philadelphia and later the Wometco Home Theater territories after WHT ceased its own programming.\nSpectrum, an over-the-air subscription service that served Chicago and was a direct competitor to ON TV.\nSuper TV, an over-the-air subscription service that served Washington, D.C., the Capital and Central regions of Maryland and Northern Virginia.\n\nDefunct television networks in the United States\nTelevision channels and stations established in 1977\nPrivate equity portfolio companies\nAmerican subscription television services\nKohlberg Kravis Roberts companies\nTelevision channels and stations disestablished in 1986\nWometco Enterprises",
"The William Herschel Telescope (WHT) is a optical/near-infrared reflecting telescope located at the Roque de los Muchachos Observatory on the island of La Palma in the Canary Islands, Spain. The telescope, which is named after William Herschel, is part of the Isaac Newton Group of Telescopes. It is funded by research councils from the United Kingdom, the Netherlands and Spain.\n\nAt the time of construction in 1987, the WHT was the third largest single optical telescope in the world. It is currently the second largest in Europe, and was the final telescope constructed by Grubb Parsons in their 150-year history.\n\nThe WHT is equipped with a wide range of instruments operating over the optical and near-infrared regimes. These are used by professional astronomers to conduct a wide range of astronomical research. Astronomers using the telescope discovered the first evidence for a supermassive black hole (Sgr A*) at the centre of the Milky Way, and made the first optical observation of a gamma-ray burst. The telescope has 75% clear nights, with a median seeing of 0.7\".\n\nHistory\nThe WHT was first conceived in the late 1960s, when the Anglo-Australian Telescope (AAT) was being designed. The British astronomical community saw the need for telescopes of comparable power in the northern hemisphere. In particular, there was a need for optical follow-up of interesting sources in the radio surveys being conducted at the Jodrell Bank and Mullard observatories (both located in the UK), which could not be done from the southern hemisphere location of the AAT.\n\nThe AAT was completed in 1974, at which point the British Science and Engineering Research Council began planning for a group of three telescopes located in the northern hemisphere (now known as the Isaac Newton Group of Telescopes, ING). The telescopes were to be a (which became the Jacobus Kapteyn Telescope), the Isaac Newton Telescope which was to be moved from its existing site at Herstmonceux Castle, and a 4m class telescope, initially planned as a . A new site was chosen at an altitude of on the island of La Palma in the Canary Islands, that is now the Roque de los Muchachos Observatory. The project was led by the Royal Greenwich Observatory (RGO), who also operated the telescopes until control passed to an independent ING when the RGO closed in 1998.\n\nBy 1979 the 4 m was on the verge of being scrapped due to a ballooning budget, whilst the aperture had been reduced to . A panel known as the Tiger Team was convened to reduce the cost; a re-design cut the price-tag by 45%. Savings were primarily made by reducing the focal length of the telescope – which allowed the use of a smaller dome – and relocating non-essential functions outside the dome to a simpler (and thus cheaper) rectangular annexe. In the same year, the Isaac Newton Telescope was moved to Roque de los Muchachos Observatory, becoming the first of the Isaac Newton Group of Telescopes. In 1981 the Nederlandse Organisatie voor Wetenschappelijk Onderzoek (Netherlands Organization for Scientific Research, NWO) bought a 20% stake in the project, allowing the WHT to be given the go-ahead. That year was the 200th anniversary of the discovery of Uranus by William Herschel, and it was decided to name the telescope in his honour.\n\nConstruction of the telescope was by Grubb Parsons, the last telescope that company produced in its 150-year history. Work began at their workshop in Newcastle-upon-Tyne in 1983, and the telescope was shipped to La Palma in 1985 (the two other telescopes of the Isaac Newton Group began operating in 1984). The WHT saw first light on 1 June 1987; it was the third largest optical telescope in the world at the time. The total cost of the telescope, including the dome and the full initial suite of instruments, was £15M (in 1984, equivalent to £M in ); within budget once inflation is taken into account.\n\nDesign\n\nOptics\nThe telescope consists of a f/2.5 primary mirror made by Owens-Illinois from Cervit, a zero-expansion glass-ceramic material, and ground by Grubb Parsons. The mirror blank was produced in 1969 as one of a set of four, along with those for the AAT, CFHT and Blanco telescopes, and was purchased for the WHT in 1979, ten years after it was made. The primary is solid and un-thinned, so no active optics system is required, despite its weight of . The mirror support cell holds the main mirror on a set of 60 pneumatic cylinders. Even under the most extreme loading (with the telescope pointing at the horizon, so the mirror is vertical) the shape of the mirror changes by only ; during normal operation the deformation is much smaller.\n\nIn its most usual configuration, a hyperbolic secondary mirror made of Zerodur is used to form a Ritchey Chretien f/11 Cassegrain system with a 15 arcmin field of view. An additional flat fold mirror allows the use of any one of two Nasmyth platforms or two folded Cassegrain stations, each with 5 arcmin fields of view. The telescope sometimes operates in a wide-field prime focus configuration, in which case the secondary is removed and a three element field-correcting lens inserted, which provides an effective f/2.8 focus with a 60 arcmin field of view (40 arcmin unvignetted). Changing between the Cassegrain and Nasmyth foci takes a matter of seconds and may be done during the night; switching to and from prime focus requires replacing the secondary mirror with a prime focus assembly during daytime (the two are mounted back-to-back) which takes around 30 minutes.\n\nA Coudé focus was planned as a later addition, to feed an optical interferometer with another telescope, but this was never built. A chopping f/35 secondary mirror was planned for infrared observations, but was placed on hold by the cost-saving re-design and never implemented.\n\nMount\nThe optical system weighs and is manoeuvred on an alt-azimuth mount, with a total moving mass of (plus instruments). The BTA-6 and Multi Mirror Telescope had demonstrated during the 1970s the significant weight (and therefore cost) savings which could be achieved by the alt-azimuth design compared to the traditional equatorial mount for large telescopes. However, the alt-azimuth design requires continuous computer control, compensation for field rotation at each focus, and results in a 0.2 degree radius blind spot at zenith where the drive motors cannot keep up with sidereal motion (the drives have a maximum speed of one degree per second in each axis). The mount is so smooth and finely balanced that before the drive motors were installed it was possible to move the then assembly by hand. During closed loop guiding, the mount is capable of an absolute pointing accuracy of 0.03 arcseconds.\n\nDome\n\nThe telescope is housed in an onion-shaped steel dome with an internal diameter of , manufactured by Brittain Steel. The telescope mount is located on a cylindrical concrete pier so that the centre of rotation is above ground level, which lifts the telescope above ground-layer air turbulence for better seeing. A conventional up-down 6m-wide shutter with wind-blind, several large vents with extractor fans for thermal control, and a capacity crane (used for moving the primary mirror e.g. for aluminising) are all incorporated. The size and shape of the shutter allow observations down to 12° above the horizon, which corresponds to an airmass of 4.8. The total moving mass of the dome is , which is mounted on top of a three-storey cylindrical building. The dome was designed to minimise wind stresses and can support up to its own weight again in ice during inclement weather. The dome and telescope rest on separate sets of foundations (driven down into the volcanic basalt), to prevent vibrations caused by dome rotation or wind stresses on the building affecting the telescope pointing.\n\nAttached to the dome is a three-storey rectangular building which houses the telescope control room, computer room, kitchen etc. Almost no human presence is required inside the dome, which means the environmental conditions can be kept very stable. As a result, the WHT obtains perfect dome seeing. This building also houses a detector laboratory and a realuminising plant. Because the WHT has the largest single mirror at the Roque de los Muchachos Observatory, its realuminising plant has a vacuum vessel large enough to accommodate the mirrors from any other telescope on the mountain. As a result, all of the other telescopes at the observatory contract to use the WHT plant for their realuminising (with the exception of the Gran Telescopio Canarias, which has its own plant).\n\nOperations\n\nThe WHT is operated by the Isaac Newton Group of Telescopes (ING), together with the 2.5m Isaac Newton Telescope and 1.0m Jacobus Kapteyn Telescope. Offices and administration are located an hour's drive away in Santa Cruz de La Palma, the island's capital. Funding is provided by the UK's Science and Technology Facilities Council (STFC, 65%), the Netherlands' Nederlandse Organisatie voor Wetenschappelijk Onderzoek (NWO, 25%) and Spain's Instituto de Astrofísica de Canarias (IAC, 10%) (2008 values). Telescope time is distributed in proportion to this funding, although Spain receives an additional 20% allocation in return for use of the observatory site. Five percent of observing time is further reserved for astronomers of other nationalities. As a competitive research telescope, the WHT is heavily oversubscribed, typically receiving applications for three to four times as much observing time as is actually available.\n\nThe vast majority of observations are carried out in visitor mode i.e. with the investigating astronomer physically present at the telescope. A shift to service mode operations (those carried out by observatory staff on behalf of astronomers who do not travel to the telescope) has been considered and rejected on scientific and operational grounds.\n\nInstruments\nThe WHT is equipped with a wide range of scientific instruments, providing astronomers with the capabilities to conduct a large variety of scientific investigations. , the current common-user instrumentation is:\n\nACAM\nAuxiliary-port CAMera – optical imager/spectrograph, with broad- and narrow-band imaging over an 8' field and low-resolution (R < 900) spectroscopy. Permanently mounted at one of the broken-Cassegrain foci.\nISIS\nIntermediate dispersion Spectrograph and Imaging System – medium resolution (R = 1,800-20,000) long-slit dual-beam optical spectrograph. Mounted at Cassegrain focus. ISIS was one of the original first generation of WHT instruments.\nLIRIS\nLong-slit Intermediate Resolution Infrared Spectrograph – near-infrared imager/spectrograph, with imaging over a 4' field, spectral resolutions R = 700–2500, spectropolarimetry, and long slit and multi-object slit-masks. Mounted at Cassegrain focus.\n\nA new multi-object optical spectrograph, WEAVE, is expected to be installed during 2019.\n\nIn addition the WHT is a popular telescope for single-purpose visitor instruments, which in recent years have included PAUCam, GHαFaS, PNS, INTEGRAL, PLANETPOL, SAURON, FASTCAM and ULTRACAM. Visitor instruments can use either the Cassegrain focus or one of the Nasmyth foci.\n\nA common set of calibration lamps (Helium and Neon arc lamps, and a Tungsten flat-field lamp) are permanently mounted at one of the broken-Cassegrain foci, and can be used for any of the other instruments.\n\nThe ISIS and LIRIS are the workhorses of the WHT, and approximately two-thirds of all time awarded is for these two instruments.\n\nScientific research\n\nAstronomers use the WHT to conduct scientific research across most branches of observational astronomy, including Solar System science, galactic astronomy, extragalactic astronomy and cosmology. Most of the instruments are designed to be useful for a range of different research.\n\nThe WHT has been used to make many significant new discoveries. Some of the more notable include the first evidence of a supermassive black hole (Sgr A*) at the centre of the Milky Way (in 1995) and the first optical observation of a gamma-ray burst (GRB 970228) (in 1997).\n\nSince the mid-1990s the WHT has faced increasing competition from newer telescopes. Nevertheless, a wide range of research continues to be done with the telescope. In recent years () this has included:\n\n The SAURON project, an integral field spectrograph survey of nearby elliptical and lenticular galaxies (2001–2010)\n The first spectrum of an asteroid which subsequently hit the Earth, (2009)\n The first spectrum of Hanny's Voorwerp (2009)\n The discovery that diffuse interstellar bands do not originate in circumstellar envelopes (2008)\n Confirmation that WASP-3b is an extrasolar planet (2008)\n High-resolution spectra of the first known double supernova, SN 2006jc (2007)\n\nFuture developments\nThe upcoming generation of extremely large telescopes (ELTs) will require sophisticated adaptive optics in order to be used to their full capability. Because the WHT has an advanced adaptive optics system already operating, it is receiving attention from the various ELT programs. The European Southern Observatory's European-ELT (E-ELT) project has begun a programme to utilise the WHT as a test-bed for its adaptive optics system, and will receive several nights per year for on-sky testing. The project involves construction of new optical experiments at one of the Nasmyth foci, and is called CANARY. CANARY will demonstrate the multi-object adaptive optics (MOAO) required for the EAGLE instrument on the E-ELT.\n\nThe UK's STFC (originally the major financial contributor) has gradually reduced its funding for the ING telescopes over a number of years. Some of this funding shortfall has been made up by other partners increasing their contributions, and some by efficiency savings and cutbacks. As a result, the shares of observing time will become UK 33%, Netherlands 28%, Spain 34% and 5% for any nationality. A new development, started in 2010, is the development of a new wide-field multi-object spectroscopy facility (WEAVE), being developed by a UK-led consortium involving major contributions from the Netherlands, Spain, France, and Italy, which is expected to be in place by the end of 2017. WEAVE will provide medium-high resolution spectroscopy in the visible (360–950 nm) range for up to 1000 simultaneous targets over a 2 degree field of view, and is currently expected to operate through to at least 2023.\n\nNotes\n\nReferences\n\nExternal links\n\n WHT Homepage\n Images of the WHT\n \n\nAstronomical observatories in La Palma\nScience and Technology Facilities Council\nOptical telescopes"
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[
"Late Night with Conan O'Brien",
"Debut",
"When did it debut?",
"O'Brien's Late Night debuted on September 13, 1993,",
"Are there any other interesting aspects about this article?",
"The premiere episode featured John Goodman (who received a \"First Guest\" medal for his appearance",
"How did the public take to this show?",
"O'Brien's inexperience was apparent and the show was generally considered mediocre by critics in terms of the host's ability.",
"Did it have any notable actors?",
"Drew Barrymore, and Tony Randall.",
"Did these appearances increase viewers?",
"Stars like Tom Hanks agreed to appear on Late Night, which boosted audience awareness.",
"Wht was critics take on the show?",
"The Chicago Sun-Times' Lon Grankhe called O'Brien \"nervous, unprepared and generally geeky"
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C_ea8e70b3e3d140daa522df55051a5411_1
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What were its ratings?
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What were Late Night with Conan O'Brien ratings?
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Late Night with Conan O'Brien
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O'Brien's Late Night debuted on September 13, 1993, with Andy Richter chosen as O'Brien's sidekick. The premiere episode featured John Goodman (who received a "First Guest" medal for his appearance), Drew Barrymore, and Tony Randall. The episode featured a cold open of O'Brien's walk to the studio with constant reminders that he was expected to live up to Letterman, parodying a popular sentiment expressed in the media at the time. After seeming to be unaffected by the comments, O'Brien arrives at his dressing room and cheerfully prepares to hang himself. However, a warning that the show is about to start causes him to abandon his plans. O'Brien's inexperience was apparent and the show was generally considered mediocre by critics in terms of the host's ability. The Chicago Sun-Times' Lon Grankhe called O'Brien "nervous, unprepared and generally geeky" and Tom Shales wrote "As for O'Brien, the young man is a living collage of annoying nervous habits. He giggles and titters, jiggles about and fiddles with his cuffs. He has dark, beady little eyes like a rabbit. He's one of the whitest white men ever." (O'Brien wrote for The New York Times a satirical review of the first episode the day it aired titled "O'Brien Flops!", in which he told readers "Frankly, I was not impressed".) The originality and quality of the comedy, however, led by original head writer Robert Smigel, was widely praised. Although O'Brien benefited by comparison from the quick critical and commercial failure of the fellow new late-night The Chevy Chase Show, NBC only offered short-term contracts, 13 weeks at a time and once for six weeks, as widely reported by the press at the time. O'Brien was reportedly almost fired at least once in this period, but NBC had no one to replace him. According to Smigel, "We were basically canceled at Conan, and then they changed their minds in August of '94, gave us a reprieve." According to O'Brien a network executive told him, in regards to Andy Richter, he'd "never succeed until I 'got rid of that big fat dildo.' That was the tone of the conversations between us and the network." It was widely expected that the host of Talk Soup, Greg Kinnear would take over the role, but Kinnear turned down the opportunity and decided to pursue a career in acting. Stars like Tom Hanks agreed to appear on Late Night, which boosted audience awareness. Even Letterman, who admired O'Brien's comic sensibility, appeared as a guest to register his support. O'Brien's performance style improved through experience and he began to receive more favorable reviews and ratings the following year. With the ratings gradually improving over the course of two years, Late Night reached a new level of critical and commercial success in 1996. Tom Shales officially recanted his previous critical review with the headline "I was wrong", and O'Brien received his first Emmy writing nomination, which he has gone on to receive every year since. CANNOTANSWER
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O'Brien's performance style improved through experience and he began to receive more favorable reviews and ratings the following year.
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Late Night with Conan O'Brien is an American late-night talk show hosted by Conan O'Brien that aired 2,725 episodes on NBC from September 13, 1993 to February 20, 2009. The show featured varied comedic material, celebrity interviews, and musical and comedy performances. Late Night aired weeknights at 12:37 am Eastern/11:37 pm Central and 12:37 am Mountain in the United States. From 1993 until 2000, Andy Richter served as O'Brien's sidekick; following his departure, O'Brien was the show's sole featured performer. The show's house musical act was The Max Weinberg 7, led by E Street Band drummer Max Weinberg.
The second incarnation of NBC's Late Night franchise, O'Brien's program debuted in 1993 after David Letterman (who hosted the first incarnation of Late Night) moved to CBS to host Late Show opposite The Tonight Show. In 2004, as part of a deal to secure a new contract, NBC announced that O'Brien would leave Late Night in 2009 to succeed Jay Leno as the host of The Tonight Show. Jimmy Fallon began hosting his version of Late Night on March 2, 2009.
History
Replacing David Letterman
Upon Johnny Carson's retirement from The Tonight Show in 1992, executives at NBC announced that Carson's frequent guest-host Jay Leno would be Carson's replacement, and not David Letterman. NBC later said that Letterman's high ratings for Late Night were the reason they kept him where he was. Letterman was bitterly disappointed and angry at not having been given The Tonight Show job; and, at Carson's advice, he left NBC after eleven years on Late Night. CBS signed Letterman to host his own show opposite The Tonight Show. Letterman moved his show to CBS virtually unchanged, taking most of the staff, skits, and comedy formats with him. However, NBC owned the rights to the Late Night name, forcing Letterman to rename his show Late Show with David Letterman.
NBC was not prepared to replace both Letterman and Late Night. Aside from the name, it needed to build a new show. Both Dana Carvey and Garry Shandling declined to host it. Saturday Night Live producer Lorne Michaels was brought in to develop the new show, and comedians Jon Stewart, Drew Carey, and Paul Provenza auditioned to host. Michaels suggested to Conan O'Brien, an unknown writer for The Simpsons and former writer for Saturday Night Live, that he should audition for the job. Despite having "about 40 seconds" of television-performance experience as an occasional extra on Saturday Night Live sketches, O'Brien auditioned for the show on April 13, 1993. His guests were Jason Alexander and Mimi Rogers, and the audition took place on the set of The Tonight Show with Jay Leno. NBC offered the show to O'Brien on April 26, and O'Brien made his first meaningful television appearance later that day when Leno introduced him on Tonight. On the final episode of his 16-year run, O'Brien stated that he "owed his career to Lorne Michaels."
Debut
O'Brien's Late Night debuted on September 13, 1993, with Andy Richter chosen as O'Brien's sidekick. The premiere episode featured John Goodman, who received a "First Guest" medal for his appearance, Drew Barrymore, and Tony Randall. The episode featured a cold open of O'Brien's walk to the studio with constant reminders that he was expected to live up to Letterman; meanwhile, Tom Brokaw makes a cameo. After seeming to be unaffected by the comments, O'Brien arrives at his dressing room and cheerfully prepares to hang himself. However, a warning that the show is about to start causes him to abandon his plans.
The show's first musical guest was English rock band Radiohead, who performed during the second episode. American singer-songwriter Jonathan Richman was the show's second musical guest.
O'Brien's inexperience was apparent, and the show was generally considered mediocre by critics in terms of hosting. The Chicago Sun-Times Lon Grankhe called O'Brien "nervous, unprepared and generally geeky", and Tom Shales wrote "As for O'Brien, the young man is a living collage of annoying nervous habits. He giggles and titters, jiggles about and fiddles with his cuffs. He has dark, beady little eyes like a rabbit. He's one of the whitest white men ever." (O'Brien wrote for The New York Times a satirical review of the first episode the day it aired titled "O'Brien Flops!", in which he told readers "Frankly, I was not impressed".) The originality and quality of the comedy, however, led by original head writer Robert Smigel, was widely praised. Although O'Brien benefited by comparison from the quick critical and commercial failure of the fellow new late-night The Chevy Chase Show, NBC only offered short-term contracts, 13 weeks at a time and once for six weeks, as widely reported by the press at the time. O'Brien was reportedly almost fired at least once in this period, but NBC had no one to replace him. According to Smigel, "We were basically canceled at Conan, and then they changed their minds in August of '94, gave us a reprieve."
One NBC affiliate, KPRC-TV in Houston, dropped Late Night with Conan O'Brien in September 1994 due to low ratings and was replaced with first-run episodes of The Jenny Jones Show. KPRC reinstated O'Brien's Late Night in the fall of 1996, but scheduled it to air as late as 2:40 a.m. while the station, in addition to The Jenny Jones Show, had aired Extra, Access Hollywood, Ricki Lake, Montel Williams, Inside Edition and a rebroadcast of its 10:00 p.m. newscast between Leno and O'Brien. Houston became the subject of a skit (via classic remote piece) in which O'Brien made impromptu stops at Houston's central bus terminal and the Astrodome to watch an episode of his own show with Houstonians in 1997. KPRC began airing Late Night with Conan O'Brien directly following The Tonight Show with Jay Leno in 2004.
According to O'Brien, NBC network executive Warren Littlefield told him, with regard to Andy Richter, he'd "never succeed until I 'got rid of that big fat dildo.' That was the tone of the conversations between us and the network." It was widely expected that the host of Talk Soup, Greg Kinnear would take over the role, but Kinnear turned down the opportunity. (Kinnear would instead become host of Late Nights then-lead-out program, Later, in February 1994, remaining there for two years before deciding to pursue an acting career.) Stars like Tom Hanks agreed to appear on Late Night, which boosted audience awareness. Even Letterman, who admired O'Brien's comic sensibility, appeared as a guest to register his support. O'Brien's performance style improved through experience, and he began to receive more favorable reviews and ratings the following year. With the ratings gradually improving over the course of two years, Late Night reached a new level of critical and commercial success in 1996. Tom Shales officially recanted his previous critical review with the headline "I was wrong", and O'Brien received his first Emmy nomination for writing, which he received every year until 2011.
1996–2000
In 2000, Richter left Late Night on good terms, to pursue his acting career, a move that emotionally affected O'Brien, as evidenced by Richter's last show. The show's comedy bits and banter had usually depended on O'Brien's interaction with Richter. O'Brien's wacky non-sequitur comedy became more pronounced as he played all of his comedy and commentary directly to the audience and Max Weinberg instead of towards Richter.
2001–2009
In 2002, when time came to renew his contract, O'Brien had notable offers from other networks to defect; Fox was reported to have made particularly strong overtures, pitching him an 11:00 p.m. show. O'Brien decided to re-sign with NBC, however, joking that he initially wanted to make a 13-week deal (a nod to his first contract). He ultimately signed through 2005, indicating that it was symbolic of surpassing Letterman's run with 12 years of hosting.
In 2003, O'Brien's own production company, Conaco, was added as a producer of Late Night. The show celebrated its 10th anniversary, another milestone that O'Brien said he wanted to achieve with his 2002 contract. During the anniversary show, Mr. T handed O'Brien a chain with a large gold "7" on it.
O'Brien's last season on Late Night attracted an average of 1.98 million viewers, compared to 1.92 million viewers for The Late Late Show with Craig Ferguson.
US television ratings (late night talk shows)
Format
Humor
The show was known for its wacky and absurd sophomoric comedic sensibility that is edgier than most other talk shows. Like his Late Night predecessor, David Letterman, the show's humor also had a streak of biting sarcasm and irony. According to Robert Smigel, who served as head writer in 1993, the show's comedic approach was to focus on being different from David Letterman:
Typically O'Brien would play the 'straight man' role to the general absurdity of the comedy, treating the material or wacky nature of the sketches with sincerity. The show had an unusual quantity of comedy and original content rather than other talk shows such as Late Show with David Letterman or The Tonight Show with Jay Leno that relied heavily on recurring segments and 'found' humor. The show was particularly unique in the lack of 'found' humor to derive content from i.e. most content being scripted as opposed to Letterman's Small Town News or Jay Leno's headlines that used this "found humor". O'Brien would often playfully chide his audience for an underwhelming or overly enthusiastic response to his jokes.
Particularly in the early years, comedic sketches overtook all segments on the show, occasionally even interrupting guest interviews and O'Brien's monologue. Frequently sketches would randomly begin without introduction, such as during banter between Richter and O'Brien. A lot of the humor had a fantasy-like quality to it, where inanimate objects would talk or silly characters would disrupt the show. Sometimes a short story would emerge in these sketches with a resolution culminating in a song.
One recurring technique is to superimpose lips onto an existing image, as in the Syncro-Vox limited animation technique, resulting in the speaker saying things often quite out of character.
Although Late Night used political humor, it did so far less frequently than competing shows did. During the 1996 and 2000 presidential election seasons, Late Night was found to be the least politically-oriented late night program. It averaged 310 political jokes per election season, in contrast to the Leno-led Tonight Show with 1,275.
(See List of Late Night with Conan O'Brien sketches for an extensive list)
The Max Weinberg 7
The show's house band was The Max Weinberg 7, led by drummer Max Weinberg. The other six members were Mark Pender on trumpet, Richie "LaBamba" Rosenberg on trombone, Mike Merritt on bass, Jerry Vivino on saxophone and brother Jimmy Vivino on guitar, and Scott Healy on keyboards. Weinberg sometimes took extended leaves of absence to tour with Bruce Springsteen as the drummer for the E Street Band. During his absence, James Wormworth would typically fill in on drums, and the band was led by Vivino under the name Jimmy Vivino and the Max Weinberg 7.
With the departure of Andy Richter from Late Night in May 2000, Max Weinberg assumed a bigger role as an interlocutor for O'Brien's jokes. One common running gag was Max's awkwardness on camera and his apparent lack of chemistry with Conan. Weinberg was often used in sketches as well, which usually revolved around his purported sexual deviance (mostly a penchant for bedding barely legal groupies), although long-running sketches also spoofed Max's lack of knowledge of current affairs.
"LaBamba" was also used as the butt of many of Conan's jokes. These humorous sketches usually revolved around LaBamba's sizeable mustache, his poor acting skills, and his alleged inability to read written music. Mark Pender would often sing songs on the topic of a current event which ended with him screeching uncontrollably and climbing the risers into the audience. All members of the 7 have had successful side careers as studio musicians.
Theme song and other music
The show's opening theme was co-written by composer Howard Shore and John Lurie (of the band The Lounge Lizards). Lurie would later say that he was contracted by Shore to write the theme, and after he turned in the piece, Shore made minimal changes and claimed an unwarranted co-writing credit. Lurie also claimed to have been a finalist for Late Night'''s band leader position, but said producers told him, "Conan thinks you’re funnier than him and that scares him."
As is common in the talk show format, the Max Weinberg 7 performed the show's opening and closing themes, played bumpers into and out of commercial breaks (they actually played through the entire break for the studio audience), and a short piece during O'Brien's crossover to his desk after his monologue. The show's closing theme was called "Cornell Knowledge", and was lifted from Jerry and Jimmy Vivino's first album together. However, on Late Night, it was played at a much quicker tempo than the album version. The band also played a wide variety of songs as bumpers coming to and from commercial breaks and introducing guests—usually popular music from a variety of eras.
Joel Godard
Joel Godard, a long-time announcer for NBC shows, was the program's announcer and a frequent comedy contributor. On the show's final episode, Conan noted that Godard was originally hired to simply announce the show's intro and claimed "nobody thought you'd ever see him", however he was gradually worked into the show's comedy pieces. These bits usually revolved around Godard's supposed homosexual fetishes, deviant sexual habits, substance abuse, and suicidal tendencies. The humor came in part from Godard's delivery. No matter how depressing or deviant the topic being discussed was, he always did so in an exaggeratedly cheerful voice and with a huge smile plastered on his face. Several sketches ended with Godard apparently committing suicide in his announcer's booth.
When Andy Richter left the show in 2000, Joel Godard became more common among sketches.
Writing staff
In the first few seasons of the show, the writing staff consisted of several now-prolific comics including Robert Smigel as the head writer, Bob Odenkirk, Louis C.K., Tommy Blacha and Dino Stamatopoulos. Smigel left his position as head writer of the show in 1995 to pen several movies but continued to appear on the show to do bits as Triumph the Insult Comic Dog and the 'Satellite Interviews'. Jonathan Groff took over his position until replaced by Mike Sweeney in 2001.
Members of the show's writing staff frequently appeared in sketches on the show. Among the most prolific were: Brian McCann (Preparation H Raymond, FedEx Pope, The Loser, Airsick Moth, Jerry Butters, Awesome Dave, Funhole Guy, Bulletproof Legs Guy, Adrian "Raisin" Foster, S&M Lincoln, etc.), Brian Stack (Hannigan the Traveling Salesman, Artie Kendall the Ghost Crooner, The Interrupter, Kilty McBagpipes, Fan-tastic Guy, Clive Clemmons, Frankenstein, Ira, Slipnut Brian, etc.), Jon Glaser (Segue Sam, Pubes, Awareness Del, Wrist Hulk, Ahole Ronald, Gorton's Fisherman, Jeremy, Slipnut Jon, etc.), Kevin Dorff (Coked-up Werewolf, Jesus Christ, Mansy the half-man/half-pansy, Joe's Bartender, Todd the Tiny Guy, etc.), and Andy Blitz (Awful Ballgame Chanter, Vin Diesel's brother Leonard Diesel, Slipnut Andy, Chuck Aloo aka the star of the 24 spin-off series 60). Blitz went so far as to travel to India for one bit in which he carried his computer through the streets of India to get technical support firsthand from the telephone representative at NBC's technical help center.
Several writing staff interns have gone on to become noted actors or writers including Vanessa Bayer, John Krasinski, Mindy Kaling, Ellie Kemper and Jack McBrayer.
Sketch actors and cameo appearancesLate Night employed a number of sketch actors, many of whom were frequently reused in different roles in different episodes. Several years before joining the cast of Saturday Night Live, and for playing the role of Leslie Knope on another NBC TV show, Parks and Recreation, Amy Poehler often appeared as a regular in many sketches, though she was best remembered for playing the recurring role of Andy Richter's Conan-obsessed teenage sister, Stacy. Other notable comedians such as Jack McBrayer, Rob Riggle, Rob Corddry, H. Jon Benjamin, Ellie Kemper, Bobby Moynihan, Matt Besser, Ian Roberts, Matt Walsh and Andrew Daly also frequently appeared as sketch actors on the show for several years. Triumph the Insult Comic Dog (created and voiced by original head writer Robert Smigel) began as part of a sketch on Late Night. Celebrities such as Dr. Joyce Brothers, Nipsey Russell, Abe Vigoda, James Lipton, Bob Saget and William Preston as the character Carl 'Oldy' Olsen also made frequent cameo appearances in comedy sketches on the show at different periods. One of the show's graphic designers, Pierre Bernard, was featured in several sketches, such as "Pierre Bernard's Recliner of Rage" and "Nerding It Up For Pierre".
Celebrity guests of the night would also occasionally appear in sketches either during their interviews or during the earlier comedy segments, e.g. in "In the year 2000" (which always included the participation of a celebrity guest after Andy Richter left the show) or a sketch where Conan would pretend to write in his diary while an attractive female guest was there. Quite rare for a talk show, sometimes interviews began normally but turned into sketches with both the guest and Conan participating, usually when the guest was a "friend of the show."
Costumed characters
Unusual for a late night talk show, Late Night made frequent use of various costumed characters such as The Masturbating Bear, Robot on a Toilet, and Pimpbot 5000. The humor in these sketches often derived from the crude construction of the characters' costumes as well as the absurdist nature of their conceptions. For example, Pimpbot 5000 was a 1950s-style robot who dressed and acted in the manner of an exaggerated blaxploitation pimp, while The Masturbating Bear was a man in a bear costume wearing an oversized diaper who would invariably begin to fondle himself to the tune of Aram Khachaturian's "Sabre Dance" when brought on stage. Many of these characters did little more in their appearances than walk across the stage or be wheeled out from behind the curtain, but some had extensive sketches on the show.
Appearances in other shows
The show made a cameo appearance in the Sesame Street special Elmopalooza, where Conan was interviewing two aliens while Big Bird was passing by them carrying a video tape.
The show also made an appearance on The Simpsons in the episode "Bart Gets Famous", where Conan interviews a now famous Bart.
ProductionLate Night was a production of Lorne Michaels's Broadway Video (and, since 2003, O'Brien's Conaco). It was taped in Studio 6A in the GE Building at 30 Rockefeller Plaza in New York City. Next to the door were framed pictures of Letterman, Carson, Jack Paar and Steve Allen, each of whose groundbreaking late-night shows originated from studio 6A or 6B (where The Tonight Show Starring Jimmy Fallon is currently taped). The studio holds just over 200 audience members. It was taped at about 5:30 pm as an uninterrupted hour-long program, with the band playing music through the portions that would be filled by commercials. Generally, shows were taped at 5:30 pm Monday through Friday, although for much of the show's run, reruns would be aired on Mondays and the show would not tape that day.
The show's format consisted of an opening monologue from O'Brien, followed by various "desk bits". These generally included several brief sketches, recurring segments, or some other form of comedy. Typically O'Brien would play the 'straight man' role to the general absurdity of the comedy, treating the material or wacky nature of the sketches with sincerity. In the show's second and fourth segments, O'Brien interviewed two celebrity guests, between which, in the third segment, O'Brien listed the next night's/week's guests. There was often a comedy bit as well during this segment. The show's fifth segment was usually reserved for a musical or stand-up comedy performance, or occasionally another guest interview. The show's final segment was usually a quick "goodnight" and the closing credits, which sometimes featured part of a bit from earlier in the show. Quite rare for a talkshow, frequently comedy segments would also spill into the interviews, typically when a guest was a 'friend'of the show.
During the live tapings, and prior to the show, there was an audience warm-up, during which the audience watched a montage of highlights from the show, and staff writer Brian McCann greeted the audience (this task was formerly undertaken by head writer Mike Sweeney). McCann delivered a few jokes, told the audience what to expect, and finally introduced the band and then O'Brien. O'Brien then thanked the audience for coming, meeting as many audience members as he could. He would often then do a musical number with the band to pump up the audience (Burning Love was one standard). After the show was finished taping, O'Brien sang the "End of the Show Song", which never aired on Late Night, although in February 2009, a short video of it was posted on Late Night Underground. The End of the Show Song finally did reach air on January 21, 2010, his penultimate show as Tonight Show host. It also was aired on the March 29, 2012 episode of Conan. The tradition of singing The End of the Show Song has continued, un-aired as usual, on Conan.
BroadcastLate Night began broadcasting in 1080i ATSC on April 26, 2005, with a downscaled letterboxed NTSC simulcast (unlike The Tonight Show, whose NTSC simulcast is fullscreen). O'Brien celebrated the conversion to the widescreen HDTV format with jokes throughout the week.
On December 6, 2005 Late Night with Conan O'Brien segments began selling on the iTunes Store. Most segments were priced at $1.99, as were most episodes of other shows, with "special" best-ofs and other longer segments priced at $9.99. In December, 2007 NBC stopped selling all its television shows on iTunes, but the network returned it to iTunes in September 2008 after NBC and Apple worked out a new agreement. The show was offered free at Hulu.com and the NBC website but has been unavailable on the Internet since the 2010 Tonight Show conflict. However, in May 2018, O'Brien and his current network, TBS, announced they would partner with NBC to make his entire Late Night archives available online, marking the 25th anniversary of O'Brien's late night debut.
Special episodes
Remote pieces and episodes shot on location
Remote pieces shot on location were a recurring staple on Late Night, but occasionally, entire episodes were shot on location, usually during sweeps months. The first vacation for the show was a week-long stint of shows in Los Angeles the week of November 9–12, 1999. This was the only location week for the show while Andy Richter was with the show, and the only time the show's theme was altered for the week, with a more surf-style version of the show's normal theme (though the Toronto shows ended the normal theme with a piece of "O Canada"). The show was broadcast from NBC's L.A. studios (NBC Studios Burbank) and an L.A.-themed set was built, very similar in layout to the New York set.
From February 10–13, 2004, Late Night broadcast from the Elgin Theatre in Toronto, Canada. The guests for these episodes were all Canadians (with the exception of Adam Sandler), and included such stars as Jim Carrey and Mike Myers. As the show was taped at a theater, unlike the trip to L.A., the set built was not like the show's standard set.
From May 9–12, 2006, the show made a similar venture to the Chicago Theatre in Chicago, Illinois, taking cues from their previous trip to Toronto. Between April 30 – May 4, 2007, the show originated from the Orpheum Theatre in San Francisco.
In a sketch called "Conan O'Brien Hates My Homeland", Conan mocked every nation in the world to see which ones he gets letters from. An announcer on the Finnish entertainment channel SubTV, which airs the show a couple of days after it is aired in the US, asked people to defend Finland before Conan got to insult it, and the viewers in Finland began sending mail before the bit had even gotten to the letter F. Conan responded by assuming the Finnish "just couldn't wait" to be insulted and officially insulted Finland in the segment. An overwhelming number of postcards were supposedly received, which apparently "forced" Conan to give Finland a formal apology. Conan then went as far as to have the flag of Finland shown in the background during a speech and slandered the Finns' "hated" neighbor Sweden with a sign saying "Sweden Sucks!" printed over the flag of Sweden. It would seem that this chain of events led to elevated ratings in Finland and subsequently also sparked a special relationship with the viewers in Finland. Later when Conan was talking to audience members before the show, a group of fans visiting from Finland commented that he resembled their female president Tarja Halonen. Conan mentioned the resemblance on his show, even showing pictures of Halonen next to himself. When he discovered that Halonen was up for reelection he began making satirical commercials in support of Halonen and vowed to travel to Finland to meet her if she won re-election. When she did indeed win re-election in January 2006, Conan traveled to Finland and met with her. One episode, broadcast on March 10, 2006, was compiled mainly of footage from O'Brien's trip to Finland. In the episode, Conan greeted fans at the airport, participated in a Sami cultural ceremony, appeared on a Finnish talk show, and attempted to visit a fan who had written to him. The episode was not strictly taped as a live episode there, however, but was prefaced by an introduction by O'Brien taped in New York. The Finland episode came as the culmination of a long-running joke on the show.
Aside from location shows, the show also did special one-shots in its early years. In 1995, one episode of the show was taped aboard a New York City ferry in New York Harbor. Dubbed "The Show on a Boat" by the showtunes-style song-and-dance number performed by a trio of "sailors" at the start of the show, O'Brien, Richter, the band and guests were all crammed onto the deck of the ferry. The show was taped at its normal afternoon time, while it was still light out.
Technical and production difficulties
A more unexpected shoot occurred on October 10, 1996, when a five-alarm fire in Rockefeller Plaza rendered the 6A studios out of commission for the remainder of that week. The fire occurred on early Thursday morning, which left O'Brien's staff precious little time to assemble a show elsewhere. Pressed for time as 12:35 approached, O'Brien taped the show outside, after dark, despite the cold weather, on a makeshift set with the Prometheus statue and 30 Rock serving as a backdrop. Furthering the unfortunate nature of the evening's circumstances was the final guest, Julie Scardina, who brought along wild animals, including birds that Conan explained had to be kept tied up, as they could not be freed outside. Earlier in the show, O'Brien and Richter walked into Brookstone (located in the lobby of Rockefeller Center), camera crew in tow, and bought a massaging leather recliner for the first guest, Samuel L. Jackson. The second of the two "fire shows", on Friday night, was taped in the Today Show studio, which was not affected by the fire.
During the Northeast Blackout of 2003, O'Brien and the staff taped a short 10-minute introduction explaining that the episode they had planned would not be taking place due to the blackout. Studio 6A was powered by a generator and lit by battery-powered floodlights. A standby show was aired in-progress after the intro. One of the scheduled guests that night, The Dandy Warhols, commandeered the studio's green room, where they stayed until they performed on the show the next night.
Gimmick episodes
Other shows that were taped in the regular 6A studio were augmented by special gimmicks:
A lot of high-concept gimmick episodes were done in the early years of the show, such as a 1994 episode literally done in a giant hole, a 1995 show done entirely on a boat of the circle line or "Time Travel Week", four episodes from early 1996, where Conan and Andy (and the rest of the crew) "time-traveled" to a different point in time each night. Times and locations included The Civil War, Ancient Greece, The future, and The early '80s (featuring a cameo by David Letterman in the cold open, who occupied Conan's studio in 1983, cruelly brushing off Conan and Andy's attempt at explaining their presence in Letterman's dressing room by saying, "Why don't you two fellas go find a nice, warm place to screw yourselves? Security!").
In 1997, a special episode was taped in which the studio audience was composed solely of grade-school age children, primarily 5–10 years of age. Conan interacted with the children, encouraging them to laugh and cheer to keep away the boredom monster.
The February 19, 1998 episode was aired against coverage of the 1998 Winter Olympics on CBS, and therefore, Conan assumed no one was watching, and they could do anything. He and Andy took to performing increasingly outrageous acts, such as Conan revealing a Hanson T-shirt under his shirt and tie, and confessing his hatred for the NBC screen bug, going as far as to kill it with a can of Raid. He and Andy also smoked on the air (with a cutaway showing a mother finding her two kids imitating Conan), Max Weinberg confessed to killing Bruce Springsteen's previous drummer, as well as a number of other people he didn't like (even showing a map of where he buried them), Al Roker walked into the studio and confessed he never liked the weather, and Conan asked a female audience member to have consensual sex with him, which the woman vehemently refused. The event became known as "Nobody's Watching".
The October 18, 2002 episode was re-shot entirely in clay animation nearly seven months after its first airing, including the opening credits and commercial bumpers. The episode's originally broadcast soundtrack was retained while the visuals were reproduced to mirror the original footage in a small-scale reproduction of the studio 6A.
On October 31, 2006, a similarly conceptualized Halloween episode was created from an episode which originally aired in May and featured Larry King, among other guests. Using a process the show called "Skelevision", all the visuals were re-shot with a Halloween motif, with human skeletons adorned with the clothing and accessories of the humans. This re-shoot was shot using the actual studio, and the puppeteers moved the skeletons with wires and cables while being visually obscured by green screen technology. Once again, the opening and bumpers were altered, this time including a model of a hearse winding through a foggy landscape and cemetery, and the voice of Bill Hader as Vincent Price in place of Joel Godard.
U2 exclusive
The October 5, 2005 episode of Late Night was devoted entirely to the band U2, marking the first time in the show's then 13-year run that it had devoted an entire show to a single guest. Jim Pitt, the talent executive in charge of booking acts for the show, remarked that in his 12 years of working for Late Night, U2 and Johnny Cash were the "dream artists" he'd tried, but never succeeded in getting. The band performed three songs, two more than the customary one song, then had a lengthy interview with Conan.
Episodes during the 2007–2008 writer's strike
After two months of being off-air, the first show to air during the 2007–2008 Writers Guild of America strike on January 2, 2008 featured a small musical segment at the beginning of the show detailing O'Brien's newly grown beard in a show of support for the striking writers. At the beginning of the January 28 episode, it was revealed that Conan had shaved his beard, which was followed with a similar musical segment.
Several times during the episodes produced during the writer's strike, O'Brien would kill time by spinning his wedding ring on his desk, which he previously only did during rehearsals. His personal best was 41 seconds, achieved during an un-aired rehearsal. After several unsuccessful on-air attempts to break his record, during the show originally broadcast on February 9, 2008, O'Brien broke his record for endurance ring spinning, setting a time of 51 seconds by coating his wedding ring with Vaseline and spinning it on a Teflon surface. The feat was accomplished with the help of MIT physics professor Peter Fisher. These episodes are considered by most fans to be the magnum opus of O'Brien's television career, considering the spontaneity of each episode. The strike also gave rise to associate producer Jordan Schlansky's repeated appearances on the show as an embellished version of himself.
"Feud" with Jon Stewart and Stephen Colbert
Early on in the later half of the 2007–2008 Writer's Guild strike, Conan O'Brien accused his show of being the sole cause of presidential candidate Mike Huckabee's status in the polls, due to his use of the Walker, Texas Ranger Lever while Chuck Norris was coincidentally sponsoring Huckabee. Stephen Colbert made the claim that because of "the Colbert bump," he was responsible for Huckabee's current success in the 2008 presidential race. O'Brien claimed that he was responsible for Colbert's success because he had made mention of him on his show. In response, Jon Stewart, host of The Daily Show, claimed that he was responsible for the success of O'Brien, and in turn the success of Huckabee and Colbert. This resulted in a three-part comedic battle among the three hosts, with all three appearing on each other's shows. The feud ended on Late Night with an all-out mock brawl between the three talk-show hosts.
Anniversary episodes
In 1996, a third anniversary episode was taped, though it aired in the regular 12:35/11:35 late night time slot. The show was composed of clips of the best of the first three years, and featured cameos from many former guests, including Janeane Garofalo, Scott Thompson, Tony Randall and George Wendt. Typical of O'Brien's style of comedy, he introduced his first guest (Wendt) by listing his notable achievements in television (particularly Cheers) then introduced each subsequent guest by repeatedly listing Wendt's achievements (insinuating that all of his guests for that night's show played the role of Norm on Cheers). In 1998, Late Night aired a fifth anniversary special in prime time, mostly consisting of clips from the first five years. It was taped in the Saturday Night Live studio, also in the GE Building. The special was later sold on VHS tape. In 2003, a similar tenth anniversary special was taped in New York City's famed Beacon Theatre and later made available on DVD.
The final episodeLate Night with Conan O'Briens last episode was recorded February 20, 2009, and aired shortly after midnight that next morning. The episode featured clips from past shows and a reflection on the show's sixteen-year-long run. John Mayer sent a farewell video message, singing a song about how Los Angeles is "going to eat [Conan] alive." In a short remote piece, Conan released regular contributor Abe Vigoda "into the wild," as he could not bring him to Los Angeles for the move to The Tonight Show. Will Ferrell made a surprise visit as George W. Bush, which quickly devolved into Ferrell tearing off his business suit to reveal an ill-fitting green leprechaun outfit that had been worn in a number of previous appearances on the show.
Former sidekick Andy Richter, who re-joined O'Brien when he took over The Tonight Show in June, joined O'Brien onstage for two segments, watching clips and reminiscing about the show. Among the clips shown, O'Brien noted that his all-time favorite Late Night piece was when he attended a re-enactment of an American Civil War-era baseball game, played at a Long Island, New York museum, Old Bethpage Village Restoration. During the course of the final week, O'Brien began violently dismantling and handing out pieces of the production set to the audience. In the final show, a large piece of the stage's frame was pulled down and chopped into pieces. O'Brien then promised to give each audience member in attendance a piece of the set.
One of Conan's favorite bands, The White Stripes, performed a new, slower arrangement of their song "We're Going to Be Friends" based on Conan's lullaby rendition of the song, with drummer Meg White playing second guitar and singing along with vocalist/guitarist Jack White. The performance proved to be the band's last before their breakup in February 2011. The program concluded with a visibly emotional O'Brien giving a farewell speech from behind his desk, thanking his fans, writers, producers, backstage crew, his family, the Max Weinberg 7, David Letterman, Joel Godard, Jay Leno, and Lorne Michaels, as well as a final assurance that he would not "grow up" as he moved to The Tonight Show.
About 3.4 million viewers watched O'Brien's final episode of Late Night, the largest audience since the January 24, 2005 episode that followed Jay Leno's tribute to Johnny Carson.
After the end of the series, Studio 6A at Rockefeller Center was remodeled for The Dr. Oz Show. In the summer of 2013, NBC moved Late Night with Jimmy Fallon to Studio 6A while 6B, which housed Late Night since Fallon succeeded O'Brien in 2009, was being renovated when Fallon took over The Tonight Show on February 17, 2014 while The Dr. Oz Show moved to ABC's Upper West Side studios.
Awards and nominations
Set design
O'Brien's Late Night had three longterm permanent sets, but retained the basic structure used when Letterman occupied Studio 6A: the performance space at the viewer's left, and the desk area, to the viewer's right, where interviews were done. O'Brien did his monologue in the performance area, emerging at the start of each episode from the area where musical guests perform. The Max Weinberg 7 were in the corner made by the stage-right wall and the wall in front of the audience. The desk area had a desk for O'Brien, a chair and couch(es) to the viewer's left for guests (and originally Andy Richter), and a coffee table.
Primarily, set changes involved the background behind the desk and chair and couch. The original set, used from the show's debut in 1993 until the fall of 1996, was primarily yellow, and the desk background resembled the living room of a New York City apartment, with windows that looked out at a Manhattan backdrop. For years afterwards, O'Brien mocked this original set, particularly its "mustard color". The two subsequent set designs featured darker blues and violets to emulate the feel of nighttime, with the final set featuring a balcony railing in front of a backdrop with the view from the top of Rockefeller Center. This set debuted on September 4, 2001 and necessitated changes almost instantly as its backdrop view of New York City contained the World Trade Center, which was destroyed a week later. A special curtain was used to obstruct the towers temporarily, until eventually the curtain became a permanent part of the set design even after the backdrop was altered. During his final week of episodes, Conan took an axe to parts of the set, giving it out to audience members as souvenirs, not wanting to allow it to simply be thrown away.
International broadcasts
CNBC Europe used to air Late Night with Conan O'Brien on weeknights from 11:45 pm–12:30 am CET, with weekend editions on Saturdays and Sundays at 9:45 pm–10:30 pm CET. However, in March 2007, CNBC Europe decided to show only the weekend editions, and drop the weeknight editions, to make way for more business news programmes in their weeknight schedules.
On the week of August 4, 2008, however, CNBC Europe has discontinued showing the NBC Nightly News, which for many years was shown live from America in a 12:30 am–1:00 am CET slot. Late Night with Conan O'Brien has now replaced NBC Nightly News in the 12:30 am–1:00 am slot. The weeknight editions are a 30-minute condensed version of the show. The show follows the weeknight condensed version of The Tonight Show with Jay Leno which airs at 12:00 am CET.
In September 2008, CNBC Europe changed the weeknight schedules to include full uncut editions of Late Night with Conan O'Brien broadcast in the 11:45 am CET/10:45 pm GMT 45-minute time slot. This schedule usually runs from Tuesdays to Fridays. CNBC Europe decided to stop broadcasting Late Night as of January 1, 2009, a mere two months before Conan's last show as host. Instead of following The Tonight Show reruns on weekends, CNBC now broadcasts two Tonight Show episodes in a row.
See also
List of Late Night with Conan O'Brien sketches
List of Late Night with Conan O'Brien characters
List of Late Night with Conan O'Brien episodes
Pale Force
The Tonight Show with Conan O'Brien''
List of late night network TV programs
References
Further reading
External links
Joseph Konopka scenic art journals for Late Night with Conan O'Brien, 1993-2009, held by the Billy Rose Theatre Division, New York Public Library for the Performing Arts
1993 American television series debuts
2009 American television series endings
1990s American late-night television series
2000s American late-night television series
1990s American television talk shows
2000s American television talk shows
CNBC Europe original programming
English-language television shows
O'Brien, Conan
NBC original programming
Primetime Emmy Award-winning television series
Television series by Universal Television
Television shows set in New York City
American television shows featuring puppetry
Conan O'Brien
Television series by Broadway Video
Television series by Conaco
Television shows filmed in New York City
| false |
[
"The Crossley ratings (or Crossleys) were an audience measurement system created to determine the audience size of radio broadcasts beginning in 1930. Developed by Archibald Crossley, the ratings were generated using information collected by telephone surveys to random homes.\n\nIn 1930, Crossley spearheaded the formation of the Cooperative Analysis of Broadcasting (CAB). The first national ratings service, CAB was supported by subscription and was at first available only to advertisers. Crossley's method of data collection essentially consisted of calling random households in selected cities and asking the respondent to recall what radio programs had been listened to at an earlier point: the previous day in Crossley's first surveys, later modified to a few hours earlier. The survey also divided the day into four listening periods (later known as dayparts), thus uncovering the fact that most radio listening at the time occurred in the evenings. In the industry, the method was known as \"telephone recall\" and the reports were called the \"Crossley ratings\" or simply the \"Crossleys\". The survey is alluded to during Orson Welles' opening narration for his famous 1938 radio dramatization of The War of the Worlds: \"On this particular evening, October 30th, the Crossley service estimated that thirty-two million people were listening in on radios.\"\n\nIn the mid-1930s a competing telephone survey method was developed, generally believed to be an improvement on the Crossley method. This method, described as \"telephone coincidental\", asked respondents what was being listened to at that moment. It was employed by C.E. Hooper, and the results became known as \"Hooperatings\". Although CAB eventually adopted the coincidental method, Hooperatings soon surpassed Crossley ratings in industry importance and by 1946 CAB was dissolved.\n\nSee also\nArbitron\nNielsen ratings\n\nReferences\n\nExternal links\n\"How Nielsen and Arbitron Became the Ratings Kings\", 2001 article in Transmission newsletter of the American Library of Broadcasting\nCrossley reports at American Radio History website\n\nHistory of radio\n1930 introductions",
"SCU: Serious Crash Unit is a New Zealand documentary series that aired on TV2. The show was cancelled after seven seasons.\n\nOverview\n\nSCU: Serious Crash Unit follows a New Zealand Police-based Auckland Serious Crash Unit as they investigate crashes and examine the evidence found at the crash scene to find out what happened, and what caused the accident.\n\nEpisodes\n\nSeason 1\n\nSeason 2\n\nSeason 3\n\nSeason 4\n\nSeason 5\n\nSeason 6\n\nSeason 7\n\nBroadcasting\nThe following list is ordered by the date of the series premiere.\n\nRatings\n\nAustralia\nIn Australia, SCU: Serious Crash Unit was watched by 1.4 million viewers in its premiere episode, and received similar ratings in its second week. In its premiere week in Australia, SCU: Serious Crash Unit was the third most watched program in the five mainland state capitals.\n\nThe second series premiered Monday 8:00pm at 1.2 million viewers, and ratings remained between 1.2 and 1.7 million viewers, following a strong lead in from Border Security: Australia's Front Line.\n\nReferences\n\nExternal links\nOfficial site\n\nNew Zealand documentary television series\n2001 New Zealand television series debuts\nDocumentary television series about policing\nTVNZ 2 original programming\nTVNZ 1 original programming\nTelevision series by Greenstone TV"
] |
[
"Late Night with Conan O'Brien",
"Debut",
"When did it debut?",
"O'Brien's Late Night debuted on September 13, 1993,",
"Are there any other interesting aspects about this article?",
"The premiere episode featured John Goodman (who received a \"First Guest\" medal for his appearance",
"How did the public take to this show?",
"O'Brien's inexperience was apparent and the show was generally considered mediocre by critics in terms of the host's ability.",
"Did it have any notable actors?",
"Drew Barrymore, and Tony Randall.",
"Did these appearances increase viewers?",
"Stars like Tom Hanks agreed to appear on Late Night, which boosted audience awareness.",
"Wht was critics take on the show?",
"The Chicago Sun-Times' Lon Grankhe called O'Brien \"nervous, unprepared and generally geeky",
"What were its ratings?",
"O'Brien's performance style improved through experience and he began to receive more favorable reviews and ratings the following year."
] |
C_ea8e70b3e3d140daa522df55051a5411_1
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Was there any other notable appearances on the show?
| 8 |
Was there any other notable appearances on Late Night with Conan O'Brien other than Drew Barrymore and Tony Randall?
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Late Night with Conan O'Brien
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O'Brien's Late Night debuted on September 13, 1993, with Andy Richter chosen as O'Brien's sidekick. The premiere episode featured John Goodman (who received a "First Guest" medal for his appearance), Drew Barrymore, and Tony Randall. The episode featured a cold open of O'Brien's walk to the studio with constant reminders that he was expected to live up to Letterman, parodying a popular sentiment expressed in the media at the time. After seeming to be unaffected by the comments, O'Brien arrives at his dressing room and cheerfully prepares to hang himself. However, a warning that the show is about to start causes him to abandon his plans. O'Brien's inexperience was apparent and the show was generally considered mediocre by critics in terms of the host's ability. The Chicago Sun-Times' Lon Grankhe called O'Brien "nervous, unprepared and generally geeky" and Tom Shales wrote "As for O'Brien, the young man is a living collage of annoying nervous habits. He giggles and titters, jiggles about and fiddles with his cuffs. He has dark, beady little eyes like a rabbit. He's one of the whitest white men ever." (O'Brien wrote for The New York Times a satirical review of the first episode the day it aired titled "O'Brien Flops!", in which he told readers "Frankly, I was not impressed".) The originality and quality of the comedy, however, led by original head writer Robert Smigel, was widely praised. Although O'Brien benefited by comparison from the quick critical and commercial failure of the fellow new late-night The Chevy Chase Show, NBC only offered short-term contracts, 13 weeks at a time and once for six weeks, as widely reported by the press at the time. O'Brien was reportedly almost fired at least once in this period, but NBC had no one to replace him. According to Smigel, "We were basically canceled at Conan, and then they changed their minds in August of '94, gave us a reprieve." According to O'Brien a network executive told him, in regards to Andy Richter, he'd "never succeed until I 'got rid of that big fat dildo.' That was the tone of the conversations between us and the network." It was widely expected that the host of Talk Soup, Greg Kinnear would take over the role, but Kinnear turned down the opportunity and decided to pursue a career in acting. Stars like Tom Hanks agreed to appear on Late Night, which boosted audience awareness. Even Letterman, who admired O'Brien's comic sensibility, appeared as a guest to register his support. O'Brien's performance style improved through experience and he began to receive more favorable reviews and ratings the following year. With the ratings gradually improving over the course of two years, Late Night reached a new level of critical and commercial success in 1996. Tom Shales officially recanted his previous critical review with the headline "I was wrong", and O'Brien received his first Emmy writing nomination, which he has gone on to receive every year since. CANNOTANSWER
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Even Letterman, who admired O'Brien's comic sensibility, appeared as a guest to register his support.
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Late Night with Conan O'Brien is an American late-night talk show hosted by Conan O'Brien that aired 2,725 episodes on NBC from September 13, 1993 to February 20, 2009. The show featured varied comedic material, celebrity interviews, and musical and comedy performances. Late Night aired weeknights at 12:37 am Eastern/11:37 pm Central and 12:37 am Mountain in the United States. From 1993 until 2000, Andy Richter served as O'Brien's sidekick; following his departure, O'Brien was the show's sole featured performer. The show's house musical act was The Max Weinberg 7, led by E Street Band drummer Max Weinberg.
The second incarnation of NBC's Late Night franchise, O'Brien's program debuted in 1993 after David Letterman (who hosted the first incarnation of Late Night) moved to CBS to host Late Show opposite The Tonight Show. In 2004, as part of a deal to secure a new contract, NBC announced that O'Brien would leave Late Night in 2009 to succeed Jay Leno as the host of The Tonight Show. Jimmy Fallon began hosting his version of Late Night on March 2, 2009.
History
Replacing David Letterman
Upon Johnny Carson's retirement from The Tonight Show in 1992, executives at NBC announced that Carson's frequent guest-host Jay Leno would be Carson's replacement, and not David Letterman. NBC later said that Letterman's high ratings for Late Night were the reason they kept him where he was. Letterman was bitterly disappointed and angry at not having been given The Tonight Show job; and, at Carson's advice, he left NBC after eleven years on Late Night. CBS signed Letterman to host his own show opposite The Tonight Show. Letterman moved his show to CBS virtually unchanged, taking most of the staff, skits, and comedy formats with him. However, NBC owned the rights to the Late Night name, forcing Letterman to rename his show Late Show with David Letterman.
NBC was not prepared to replace both Letterman and Late Night. Aside from the name, it needed to build a new show. Both Dana Carvey and Garry Shandling declined to host it. Saturday Night Live producer Lorne Michaels was brought in to develop the new show, and comedians Jon Stewart, Drew Carey, and Paul Provenza auditioned to host. Michaels suggested to Conan O'Brien, an unknown writer for The Simpsons and former writer for Saturday Night Live, that he should audition for the job. Despite having "about 40 seconds" of television-performance experience as an occasional extra on Saturday Night Live sketches, O'Brien auditioned for the show on April 13, 1993. His guests were Jason Alexander and Mimi Rogers, and the audition took place on the set of The Tonight Show with Jay Leno. NBC offered the show to O'Brien on April 26, and O'Brien made his first meaningful television appearance later that day when Leno introduced him on Tonight. On the final episode of his 16-year run, O'Brien stated that he "owed his career to Lorne Michaels."
Debut
O'Brien's Late Night debuted on September 13, 1993, with Andy Richter chosen as O'Brien's sidekick. The premiere episode featured John Goodman, who received a "First Guest" medal for his appearance, Drew Barrymore, and Tony Randall. The episode featured a cold open of O'Brien's walk to the studio with constant reminders that he was expected to live up to Letterman; meanwhile, Tom Brokaw makes a cameo. After seeming to be unaffected by the comments, O'Brien arrives at his dressing room and cheerfully prepares to hang himself. However, a warning that the show is about to start causes him to abandon his plans.
The show's first musical guest was English rock band Radiohead, who performed during the second episode. American singer-songwriter Jonathan Richman was the show's second musical guest.
O'Brien's inexperience was apparent, and the show was generally considered mediocre by critics in terms of hosting. The Chicago Sun-Times Lon Grankhe called O'Brien "nervous, unprepared and generally geeky", and Tom Shales wrote "As for O'Brien, the young man is a living collage of annoying nervous habits. He giggles and titters, jiggles about and fiddles with his cuffs. He has dark, beady little eyes like a rabbit. He's one of the whitest white men ever." (O'Brien wrote for The New York Times a satirical review of the first episode the day it aired titled "O'Brien Flops!", in which he told readers "Frankly, I was not impressed".) The originality and quality of the comedy, however, led by original head writer Robert Smigel, was widely praised. Although O'Brien benefited by comparison from the quick critical and commercial failure of the fellow new late-night The Chevy Chase Show, NBC only offered short-term contracts, 13 weeks at a time and once for six weeks, as widely reported by the press at the time. O'Brien was reportedly almost fired at least once in this period, but NBC had no one to replace him. According to Smigel, "We were basically canceled at Conan, and then they changed their minds in August of '94, gave us a reprieve."
One NBC affiliate, KPRC-TV in Houston, dropped Late Night with Conan O'Brien in September 1994 due to low ratings and was replaced with first-run episodes of The Jenny Jones Show. KPRC reinstated O'Brien's Late Night in the fall of 1996, but scheduled it to air as late as 2:40 a.m. while the station, in addition to The Jenny Jones Show, had aired Extra, Access Hollywood, Ricki Lake, Montel Williams, Inside Edition and a rebroadcast of its 10:00 p.m. newscast between Leno and O'Brien. Houston became the subject of a skit (via classic remote piece) in which O'Brien made impromptu stops at Houston's central bus terminal and the Astrodome to watch an episode of his own show with Houstonians in 1997. KPRC began airing Late Night with Conan O'Brien directly following The Tonight Show with Jay Leno in 2004.
According to O'Brien, NBC network executive Warren Littlefield told him, with regard to Andy Richter, he'd "never succeed until I 'got rid of that big fat dildo.' That was the tone of the conversations between us and the network." It was widely expected that the host of Talk Soup, Greg Kinnear would take over the role, but Kinnear turned down the opportunity. (Kinnear would instead become host of Late Nights then-lead-out program, Later, in February 1994, remaining there for two years before deciding to pursue an acting career.) Stars like Tom Hanks agreed to appear on Late Night, which boosted audience awareness. Even Letterman, who admired O'Brien's comic sensibility, appeared as a guest to register his support. O'Brien's performance style improved through experience, and he began to receive more favorable reviews and ratings the following year. With the ratings gradually improving over the course of two years, Late Night reached a new level of critical and commercial success in 1996. Tom Shales officially recanted his previous critical review with the headline "I was wrong", and O'Brien received his first Emmy nomination for writing, which he received every year until 2011.
1996–2000
In 2000, Richter left Late Night on good terms, to pursue his acting career, a move that emotionally affected O'Brien, as evidenced by Richter's last show. The show's comedy bits and banter had usually depended on O'Brien's interaction with Richter. O'Brien's wacky non-sequitur comedy became more pronounced as he played all of his comedy and commentary directly to the audience and Max Weinberg instead of towards Richter.
2001–2009
In 2002, when time came to renew his contract, O'Brien had notable offers from other networks to defect; Fox was reported to have made particularly strong overtures, pitching him an 11:00 p.m. show. O'Brien decided to re-sign with NBC, however, joking that he initially wanted to make a 13-week deal (a nod to his first contract). He ultimately signed through 2005, indicating that it was symbolic of surpassing Letterman's run with 12 years of hosting.
In 2003, O'Brien's own production company, Conaco, was added as a producer of Late Night. The show celebrated its 10th anniversary, another milestone that O'Brien said he wanted to achieve with his 2002 contract. During the anniversary show, Mr. T handed O'Brien a chain with a large gold "7" on it.
O'Brien's last season on Late Night attracted an average of 1.98 million viewers, compared to 1.92 million viewers for The Late Late Show with Craig Ferguson.
US television ratings (late night talk shows)
Format
Humor
The show was known for its wacky and absurd sophomoric comedic sensibility that is edgier than most other talk shows. Like his Late Night predecessor, David Letterman, the show's humor also had a streak of biting sarcasm and irony. According to Robert Smigel, who served as head writer in 1993, the show's comedic approach was to focus on being different from David Letterman:
Typically O'Brien would play the 'straight man' role to the general absurdity of the comedy, treating the material or wacky nature of the sketches with sincerity. The show had an unusual quantity of comedy and original content rather than other talk shows such as Late Show with David Letterman or The Tonight Show with Jay Leno that relied heavily on recurring segments and 'found' humor. The show was particularly unique in the lack of 'found' humor to derive content from i.e. most content being scripted as opposed to Letterman's Small Town News or Jay Leno's headlines that used this "found humor". O'Brien would often playfully chide his audience for an underwhelming or overly enthusiastic response to his jokes.
Particularly in the early years, comedic sketches overtook all segments on the show, occasionally even interrupting guest interviews and O'Brien's monologue. Frequently sketches would randomly begin without introduction, such as during banter between Richter and O'Brien. A lot of the humor had a fantasy-like quality to it, where inanimate objects would talk or silly characters would disrupt the show. Sometimes a short story would emerge in these sketches with a resolution culminating in a song.
One recurring technique is to superimpose lips onto an existing image, as in the Syncro-Vox limited animation technique, resulting in the speaker saying things often quite out of character.
Although Late Night used political humor, it did so far less frequently than competing shows did. During the 1996 and 2000 presidential election seasons, Late Night was found to be the least politically-oriented late night program. It averaged 310 political jokes per election season, in contrast to the Leno-led Tonight Show with 1,275.
(See List of Late Night with Conan O'Brien sketches for an extensive list)
The Max Weinberg 7
The show's house band was The Max Weinberg 7, led by drummer Max Weinberg. The other six members were Mark Pender on trumpet, Richie "LaBamba" Rosenberg on trombone, Mike Merritt on bass, Jerry Vivino on saxophone and brother Jimmy Vivino on guitar, and Scott Healy on keyboards. Weinberg sometimes took extended leaves of absence to tour with Bruce Springsteen as the drummer for the E Street Band. During his absence, James Wormworth would typically fill in on drums, and the band was led by Vivino under the name Jimmy Vivino and the Max Weinberg 7.
With the departure of Andy Richter from Late Night in May 2000, Max Weinberg assumed a bigger role as an interlocutor for O'Brien's jokes. One common running gag was Max's awkwardness on camera and his apparent lack of chemistry with Conan. Weinberg was often used in sketches as well, which usually revolved around his purported sexual deviance (mostly a penchant for bedding barely legal groupies), although long-running sketches also spoofed Max's lack of knowledge of current affairs.
"LaBamba" was also used as the butt of many of Conan's jokes. These humorous sketches usually revolved around LaBamba's sizeable mustache, his poor acting skills, and his alleged inability to read written music. Mark Pender would often sing songs on the topic of a current event which ended with him screeching uncontrollably and climbing the risers into the audience. All members of the 7 have had successful side careers as studio musicians.
Theme song and other music
The show's opening theme was co-written by composer Howard Shore and John Lurie (of the band The Lounge Lizards). Lurie would later say that he was contracted by Shore to write the theme, and after he turned in the piece, Shore made minimal changes and claimed an unwarranted co-writing credit. Lurie also claimed to have been a finalist for Late Night'''s band leader position, but said producers told him, "Conan thinks you’re funnier than him and that scares him."
As is common in the talk show format, the Max Weinberg 7 performed the show's opening and closing themes, played bumpers into and out of commercial breaks (they actually played through the entire break for the studio audience), and a short piece during O'Brien's crossover to his desk after his monologue. The show's closing theme was called "Cornell Knowledge", and was lifted from Jerry and Jimmy Vivino's first album together. However, on Late Night, it was played at a much quicker tempo than the album version. The band also played a wide variety of songs as bumpers coming to and from commercial breaks and introducing guests—usually popular music from a variety of eras.
Joel Godard
Joel Godard, a long-time announcer for NBC shows, was the program's announcer and a frequent comedy contributor. On the show's final episode, Conan noted that Godard was originally hired to simply announce the show's intro and claimed "nobody thought you'd ever see him", however he was gradually worked into the show's comedy pieces. These bits usually revolved around Godard's supposed homosexual fetishes, deviant sexual habits, substance abuse, and suicidal tendencies. The humor came in part from Godard's delivery. No matter how depressing or deviant the topic being discussed was, he always did so in an exaggeratedly cheerful voice and with a huge smile plastered on his face. Several sketches ended with Godard apparently committing suicide in his announcer's booth.
When Andy Richter left the show in 2000, Joel Godard became more common among sketches.
Writing staff
In the first few seasons of the show, the writing staff consisted of several now-prolific comics including Robert Smigel as the head writer, Bob Odenkirk, Louis C.K., Tommy Blacha and Dino Stamatopoulos. Smigel left his position as head writer of the show in 1995 to pen several movies but continued to appear on the show to do bits as Triumph the Insult Comic Dog and the 'Satellite Interviews'. Jonathan Groff took over his position until replaced by Mike Sweeney in 2001.
Members of the show's writing staff frequently appeared in sketches on the show. Among the most prolific were: Brian McCann (Preparation H Raymond, FedEx Pope, The Loser, Airsick Moth, Jerry Butters, Awesome Dave, Funhole Guy, Bulletproof Legs Guy, Adrian "Raisin" Foster, S&M Lincoln, etc.), Brian Stack (Hannigan the Traveling Salesman, Artie Kendall the Ghost Crooner, The Interrupter, Kilty McBagpipes, Fan-tastic Guy, Clive Clemmons, Frankenstein, Ira, Slipnut Brian, etc.), Jon Glaser (Segue Sam, Pubes, Awareness Del, Wrist Hulk, Ahole Ronald, Gorton's Fisherman, Jeremy, Slipnut Jon, etc.), Kevin Dorff (Coked-up Werewolf, Jesus Christ, Mansy the half-man/half-pansy, Joe's Bartender, Todd the Tiny Guy, etc.), and Andy Blitz (Awful Ballgame Chanter, Vin Diesel's brother Leonard Diesel, Slipnut Andy, Chuck Aloo aka the star of the 24 spin-off series 60). Blitz went so far as to travel to India for one bit in which he carried his computer through the streets of India to get technical support firsthand from the telephone representative at NBC's technical help center.
Several writing staff interns have gone on to become noted actors or writers including Vanessa Bayer, John Krasinski, Mindy Kaling, Ellie Kemper and Jack McBrayer.
Sketch actors and cameo appearancesLate Night employed a number of sketch actors, many of whom were frequently reused in different roles in different episodes. Several years before joining the cast of Saturday Night Live, and for playing the role of Leslie Knope on another NBC TV show, Parks and Recreation, Amy Poehler often appeared as a regular in many sketches, though she was best remembered for playing the recurring role of Andy Richter's Conan-obsessed teenage sister, Stacy. Other notable comedians such as Jack McBrayer, Rob Riggle, Rob Corddry, H. Jon Benjamin, Ellie Kemper, Bobby Moynihan, Matt Besser, Ian Roberts, Matt Walsh and Andrew Daly also frequently appeared as sketch actors on the show for several years. Triumph the Insult Comic Dog (created and voiced by original head writer Robert Smigel) began as part of a sketch on Late Night. Celebrities such as Dr. Joyce Brothers, Nipsey Russell, Abe Vigoda, James Lipton, Bob Saget and William Preston as the character Carl 'Oldy' Olsen also made frequent cameo appearances in comedy sketches on the show at different periods. One of the show's graphic designers, Pierre Bernard, was featured in several sketches, such as "Pierre Bernard's Recliner of Rage" and "Nerding It Up For Pierre".
Celebrity guests of the night would also occasionally appear in sketches either during their interviews or during the earlier comedy segments, e.g. in "In the year 2000" (which always included the participation of a celebrity guest after Andy Richter left the show) or a sketch where Conan would pretend to write in his diary while an attractive female guest was there. Quite rare for a talk show, sometimes interviews began normally but turned into sketches with both the guest and Conan participating, usually when the guest was a "friend of the show."
Costumed characters
Unusual for a late night talk show, Late Night made frequent use of various costumed characters such as The Masturbating Bear, Robot on a Toilet, and Pimpbot 5000. The humor in these sketches often derived from the crude construction of the characters' costumes as well as the absurdist nature of their conceptions. For example, Pimpbot 5000 was a 1950s-style robot who dressed and acted in the manner of an exaggerated blaxploitation pimp, while The Masturbating Bear was a man in a bear costume wearing an oversized diaper who would invariably begin to fondle himself to the tune of Aram Khachaturian's "Sabre Dance" when brought on stage. Many of these characters did little more in their appearances than walk across the stage or be wheeled out from behind the curtain, but some had extensive sketches on the show.
Appearances in other shows
The show made a cameo appearance in the Sesame Street special Elmopalooza, where Conan was interviewing two aliens while Big Bird was passing by them carrying a video tape.
The show also made an appearance on The Simpsons in the episode "Bart Gets Famous", where Conan interviews a now famous Bart.
ProductionLate Night was a production of Lorne Michaels's Broadway Video (and, since 2003, O'Brien's Conaco). It was taped in Studio 6A in the GE Building at 30 Rockefeller Plaza in New York City. Next to the door were framed pictures of Letterman, Carson, Jack Paar and Steve Allen, each of whose groundbreaking late-night shows originated from studio 6A or 6B (where The Tonight Show Starring Jimmy Fallon is currently taped). The studio holds just over 200 audience members. It was taped at about 5:30 pm as an uninterrupted hour-long program, with the band playing music through the portions that would be filled by commercials. Generally, shows were taped at 5:30 pm Monday through Friday, although for much of the show's run, reruns would be aired on Mondays and the show would not tape that day.
The show's format consisted of an opening monologue from O'Brien, followed by various "desk bits". These generally included several brief sketches, recurring segments, or some other form of comedy. Typically O'Brien would play the 'straight man' role to the general absurdity of the comedy, treating the material or wacky nature of the sketches with sincerity. In the show's second and fourth segments, O'Brien interviewed two celebrity guests, between which, in the third segment, O'Brien listed the next night's/week's guests. There was often a comedy bit as well during this segment. The show's fifth segment was usually reserved for a musical or stand-up comedy performance, or occasionally another guest interview. The show's final segment was usually a quick "goodnight" and the closing credits, which sometimes featured part of a bit from earlier in the show. Quite rare for a talkshow, frequently comedy segments would also spill into the interviews, typically when a guest was a 'friend'of the show.
During the live tapings, and prior to the show, there was an audience warm-up, during which the audience watched a montage of highlights from the show, and staff writer Brian McCann greeted the audience (this task was formerly undertaken by head writer Mike Sweeney). McCann delivered a few jokes, told the audience what to expect, and finally introduced the band and then O'Brien. O'Brien then thanked the audience for coming, meeting as many audience members as he could. He would often then do a musical number with the band to pump up the audience (Burning Love was one standard). After the show was finished taping, O'Brien sang the "End of the Show Song", which never aired on Late Night, although in February 2009, a short video of it was posted on Late Night Underground. The End of the Show Song finally did reach air on January 21, 2010, his penultimate show as Tonight Show host. It also was aired on the March 29, 2012 episode of Conan. The tradition of singing The End of the Show Song has continued, un-aired as usual, on Conan.
BroadcastLate Night began broadcasting in 1080i ATSC on April 26, 2005, with a downscaled letterboxed NTSC simulcast (unlike The Tonight Show, whose NTSC simulcast is fullscreen). O'Brien celebrated the conversion to the widescreen HDTV format with jokes throughout the week.
On December 6, 2005 Late Night with Conan O'Brien segments began selling on the iTunes Store. Most segments were priced at $1.99, as were most episodes of other shows, with "special" best-ofs and other longer segments priced at $9.99. In December, 2007 NBC stopped selling all its television shows on iTunes, but the network returned it to iTunes in September 2008 after NBC and Apple worked out a new agreement. The show was offered free at Hulu.com and the NBC website but has been unavailable on the Internet since the 2010 Tonight Show conflict. However, in May 2018, O'Brien and his current network, TBS, announced they would partner with NBC to make his entire Late Night archives available online, marking the 25th anniversary of O'Brien's late night debut.
Special episodes
Remote pieces and episodes shot on location
Remote pieces shot on location were a recurring staple on Late Night, but occasionally, entire episodes were shot on location, usually during sweeps months. The first vacation for the show was a week-long stint of shows in Los Angeles the week of November 9–12, 1999. This was the only location week for the show while Andy Richter was with the show, and the only time the show's theme was altered for the week, with a more surf-style version of the show's normal theme (though the Toronto shows ended the normal theme with a piece of "O Canada"). The show was broadcast from NBC's L.A. studios (NBC Studios Burbank) and an L.A.-themed set was built, very similar in layout to the New York set.
From February 10–13, 2004, Late Night broadcast from the Elgin Theatre in Toronto, Canada. The guests for these episodes were all Canadians (with the exception of Adam Sandler), and included such stars as Jim Carrey and Mike Myers. As the show was taped at a theater, unlike the trip to L.A., the set built was not like the show's standard set.
From May 9–12, 2006, the show made a similar venture to the Chicago Theatre in Chicago, Illinois, taking cues from their previous trip to Toronto. Between April 30 – May 4, 2007, the show originated from the Orpheum Theatre in San Francisco.
In a sketch called "Conan O'Brien Hates My Homeland", Conan mocked every nation in the world to see which ones he gets letters from. An announcer on the Finnish entertainment channel SubTV, which airs the show a couple of days after it is aired in the US, asked people to defend Finland before Conan got to insult it, and the viewers in Finland began sending mail before the bit had even gotten to the letter F. Conan responded by assuming the Finnish "just couldn't wait" to be insulted and officially insulted Finland in the segment. An overwhelming number of postcards were supposedly received, which apparently "forced" Conan to give Finland a formal apology. Conan then went as far as to have the flag of Finland shown in the background during a speech and slandered the Finns' "hated" neighbor Sweden with a sign saying "Sweden Sucks!" printed over the flag of Sweden. It would seem that this chain of events led to elevated ratings in Finland and subsequently also sparked a special relationship with the viewers in Finland. Later when Conan was talking to audience members before the show, a group of fans visiting from Finland commented that he resembled their female president Tarja Halonen. Conan mentioned the resemblance on his show, even showing pictures of Halonen next to himself. When he discovered that Halonen was up for reelection he began making satirical commercials in support of Halonen and vowed to travel to Finland to meet her if she won re-election. When she did indeed win re-election in January 2006, Conan traveled to Finland and met with her. One episode, broadcast on March 10, 2006, was compiled mainly of footage from O'Brien's trip to Finland. In the episode, Conan greeted fans at the airport, participated in a Sami cultural ceremony, appeared on a Finnish talk show, and attempted to visit a fan who had written to him. The episode was not strictly taped as a live episode there, however, but was prefaced by an introduction by O'Brien taped in New York. The Finland episode came as the culmination of a long-running joke on the show.
Aside from location shows, the show also did special one-shots in its early years. In 1995, one episode of the show was taped aboard a New York City ferry in New York Harbor. Dubbed "The Show on a Boat" by the showtunes-style song-and-dance number performed by a trio of "sailors" at the start of the show, O'Brien, Richter, the band and guests were all crammed onto the deck of the ferry. The show was taped at its normal afternoon time, while it was still light out.
Technical and production difficulties
A more unexpected shoot occurred on October 10, 1996, when a five-alarm fire in Rockefeller Plaza rendered the 6A studios out of commission for the remainder of that week. The fire occurred on early Thursday morning, which left O'Brien's staff precious little time to assemble a show elsewhere. Pressed for time as 12:35 approached, O'Brien taped the show outside, after dark, despite the cold weather, on a makeshift set with the Prometheus statue and 30 Rock serving as a backdrop. Furthering the unfortunate nature of the evening's circumstances was the final guest, Julie Scardina, who brought along wild animals, including birds that Conan explained had to be kept tied up, as they could not be freed outside. Earlier in the show, O'Brien and Richter walked into Brookstone (located in the lobby of Rockefeller Center), camera crew in tow, and bought a massaging leather recliner for the first guest, Samuel L. Jackson. The second of the two "fire shows", on Friday night, was taped in the Today Show studio, which was not affected by the fire.
During the Northeast Blackout of 2003, O'Brien and the staff taped a short 10-minute introduction explaining that the episode they had planned would not be taking place due to the blackout. Studio 6A was powered by a generator and lit by battery-powered floodlights. A standby show was aired in-progress after the intro. One of the scheduled guests that night, The Dandy Warhols, commandeered the studio's green room, where they stayed until they performed on the show the next night.
Gimmick episodes
Other shows that were taped in the regular 6A studio were augmented by special gimmicks:
A lot of high-concept gimmick episodes were done in the early years of the show, such as a 1994 episode literally done in a giant hole, a 1995 show done entirely on a boat of the circle line or "Time Travel Week", four episodes from early 1996, where Conan and Andy (and the rest of the crew) "time-traveled" to a different point in time each night. Times and locations included The Civil War, Ancient Greece, The future, and The early '80s (featuring a cameo by David Letterman in the cold open, who occupied Conan's studio in 1983, cruelly brushing off Conan and Andy's attempt at explaining their presence in Letterman's dressing room by saying, "Why don't you two fellas go find a nice, warm place to screw yourselves? Security!").
In 1997, a special episode was taped in which the studio audience was composed solely of grade-school age children, primarily 5–10 years of age. Conan interacted with the children, encouraging them to laugh and cheer to keep away the boredom monster.
The February 19, 1998 episode was aired against coverage of the 1998 Winter Olympics on CBS, and therefore, Conan assumed no one was watching, and they could do anything. He and Andy took to performing increasingly outrageous acts, such as Conan revealing a Hanson T-shirt under his shirt and tie, and confessing his hatred for the NBC screen bug, going as far as to kill it with a can of Raid. He and Andy also smoked on the air (with a cutaway showing a mother finding her two kids imitating Conan), Max Weinberg confessed to killing Bruce Springsteen's previous drummer, as well as a number of other people he didn't like (even showing a map of where he buried them), Al Roker walked into the studio and confessed he never liked the weather, and Conan asked a female audience member to have consensual sex with him, which the woman vehemently refused. The event became known as "Nobody's Watching".
The October 18, 2002 episode was re-shot entirely in clay animation nearly seven months after its first airing, including the opening credits and commercial bumpers. The episode's originally broadcast soundtrack was retained while the visuals were reproduced to mirror the original footage in a small-scale reproduction of the studio 6A.
On October 31, 2006, a similarly conceptualized Halloween episode was created from an episode which originally aired in May and featured Larry King, among other guests. Using a process the show called "Skelevision", all the visuals were re-shot with a Halloween motif, with human skeletons adorned with the clothing and accessories of the humans. This re-shoot was shot using the actual studio, and the puppeteers moved the skeletons with wires and cables while being visually obscured by green screen technology. Once again, the opening and bumpers were altered, this time including a model of a hearse winding through a foggy landscape and cemetery, and the voice of Bill Hader as Vincent Price in place of Joel Godard.
U2 exclusive
The October 5, 2005 episode of Late Night was devoted entirely to the band U2, marking the first time in the show's then 13-year run that it had devoted an entire show to a single guest. Jim Pitt, the talent executive in charge of booking acts for the show, remarked that in his 12 years of working for Late Night, U2 and Johnny Cash were the "dream artists" he'd tried, but never succeeded in getting. The band performed three songs, two more than the customary one song, then had a lengthy interview with Conan.
Episodes during the 2007–2008 writer's strike
After two months of being off-air, the first show to air during the 2007–2008 Writers Guild of America strike on January 2, 2008 featured a small musical segment at the beginning of the show detailing O'Brien's newly grown beard in a show of support for the striking writers. At the beginning of the January 28 episode, it was revealed that Conan had shaved his beard, which was followed with a similar musical segment.
Several times during the episodes produced during the writer's strike, O'Brien would kill time by spinning his wedding ring on his desk, which he previously only did during rehearsals. His personal best was 41 seconds, achieved during an un-aired rehearsal. After several unsuccessful on-air attempts to break his record, during the show originally broadcast on February 9, 2008, O'Brien broke his record for endurance ring spinning, setting a time of 51 seconds by coating his wedding ring with Vaseline and spinning it on a Teflon surface. The feat was accomplished with the help of MIT physics professor Peter Fisher. These episodes are considered by most fans to be the magnum opus of O'Brien's television career, considering the spontaneity of each episode. The strike also gave rise to associate producer Jordan Schlansky's repeated appearances on the show as an embellished version of himself.
"Feud" with Jon Stewart and Stephen Colbert
Early on in the later half of the 2007–2008 Writer's Guild strike, Conan O'Brien accused his show of being the sole cause of presidential candidate Mike Huckabee's status in the polls, due to his use of the Walker, Texas Ranger Lever while Chuck Norris was coincidentally sponsoring Huckabee. Stephen Colbert made the claim that because of "the Colbert bump," he was responsible for Huckabee's current success in the 2008 presidential race. O'Brien claimed that he was responsible for Colbert's success because he had made mention of him on his show. In response, Jon Stewart, host of The Daily Show, claimed that he was responsible for the success of O'Brien, and in turn the success of Huckabee and Colbert. This resulted in a three-part comedic battle among the three hosts, with all three appearing on each other's shows. The feud ended on Late Night with an all-out mock brawl between the three talk-show hosts.
Anniversary episodes
In 1996, a third anniversary episode was taped, though it aired in the regular 12:35/11:35 late night time slot. The show was composed of clips of the best of the first three years, and featured cameos from many former guests, including Janeane Garofalo, Scott Thompson, Tony Randall and George Wendt. Typical of O'Brien's style of comedy, he introduced his first guest (Wendt) by listing his notable achievements in television (particularly Cheers) then introduced each subsequent guest by repeatedly listing Wendt's achievements (insinuating that all of his guests for that night's show played the role of Norm on Cheers). In 1998, Late Night aired a fifth anniversary special in prime time, mostly consisting of clips from the first five years. It was taped in the Saturday Night Live studio, also in the GE Building. The special was later sold on VHS tape. In 2003, a similar tenth anniversary special was taped in New York City's famed Beacon Theatre and later made available on DVD.
The final episodeLate Night with Conan O'Briens last episode was recorded February 20, 2009, and aired shortly after midnight that next morning. The episode featured clips from past shows and a reflection on the show's sixteen-year-long run. John Mayer sent a farewell video message, singing a song about how Los Angeles is "going to eat [Conan] alive." In a short remote piece, Conan released regular contributor Abe Vigoda "into the wild," as he could not bring him to Los Angeles for the move to The Tonight Show. Will Ferrell made a surprise visit as George W. Bush, which quickly devolved into Ferrell tearing off his business suit to reveal an ill-fitting green leprechaun outfit that had been worn in a number of previous appearances on the show.
Former sidekick Andy Richter, who re-joined O'Brien when he took over The Tonight Show in June, joined O'Brien onstage for two segments, watching clips and reminiscing about the show. Among the clips shown, O'Brien noted that his all-time favorite Late Night piece was when he attended a re-enactment of an American Civil War-era baseball game, played at a Long Island, New York museum, Old Bethpage Village Restoration. During the course of the final week, O'Brien began violently dismantling and handing out pieces of the production set to the audience. In the final show, a large piece of the stage's frame was pulled down and chopped into pieces. O'Brien then promised to give each audience member in attendance a piece of the set.
One of Conan's favorite bands, The White Stripes, performed a new, slower arrangement of their song "We're Going to Be Friends" based on Conan's lullaby rendition of the song, with drummer Meg White playing second guitar and singing along with vocalist/guitarist Jack White. The performance proved to be the band's last before their breakup in February 2011. The program concluded with a visibly emotional O'Brien giving a farewell speech from behind his desk, thanking his fans, writers, producers, backstage crew, his family, the Max Weinberg 7, David Letterman, Joel Godard, Jay Leno, and Lorne Michaels, as well as a final assurance that he would not "grow up" as he moved to The Tonight Show.
About 3.4 million viewers watched O'Brien's final episode of Late Night, the largest audience since the January 24, 2005 episode that followed Jay Leno's tribute to Johnny Carson.
After the end of the series, Studio 6A at Rockefeller Center was remodeled for The Dr. Oz Show. In the summer of 2013, NBC moved Late Night with Jimmy Fallon to Studio 6A while 6B, which housed Late Night since Fallon succeeded O'Brien in 2009, was being renovated when Fallon took over The Tonight Show on February 17, 2014 while The Dr. Oz Show moved to ABC's Upper West Side studios.
Awards and nominations
Set design
O'Brien's Late Night had three longterm permanent sets, but retained the basic structure used when Letterman occupied Studio 6A: the performance space at the viewer's left, and the desk area, to the viewer's right, where interviews were done. O'Brien did his monologue in the performance area, emerging at the start of each episode from the area where musical guests perform. The Max Weinberg 7 were in the corner made by the stage-right wall and the wall in front of the audience. The desk area had a desk for O'Brien, a chair and couch(es) to the viewer's left for guests (and originally Andy Richter), and a coffee table.
Primarily, set changes involved the background behind the desk and chair and couch. The original set, used from the show's debut in 1993 until the fall of 1996, was primarily yellow, and the desk background resembled the living room of a New York City apartment, with windows that looked out at a Manhattan backdrop. For years afterwards, O'Brien mocked this original set, particularly its "mustard color". The two subsequent set designs featured darker blues and violets to emulate the feel of nighttime, with the final set featuring a balcony railing in front of a backdrop with the view from the top of Rockefeller Center. This set debuted on September 4, 2001 and necessitated changes almost instantly as its backdrop view of New York City contained the World Trade Center, which was destroyed a week later. A special curtain was used to obstruct the towers temporarily, until eventually the curtain became a permanent part of the set design even after the backdrop was altered. During his final week of episodes, Conan took an axe to parts of the set, giving it out to audience members as souvenirs, not wanting to allow it to simply be thrown away.
International broadcasts
CNBC Europe used to air Late Night with Conan O'Brien on weeknights from 11:45 pm–12:30 am CET, with weekend editions on Saturdays and Sundays at 9:45 pm–10:30 pm CET. However, in March 2007, CNBC Europe decided to show only the weekend editions, and drop the weeknight editions, to make way for more business news programmes in their weeknight schedules.
On the week of August 4, 2008, however, CNBC Europe has discontinued showing the NBC Nightly News, which for many years was shown live from America in a 12:30 am–1:00 am CET slot. Late Night with Conan O'Brien has now replaced NBC Nightly News in the 12:30 am–1:00 am slot. The weeknight editions are a 30-minute condensed version of the show. The show follows the weeknight condensed version of The Tonight Show with Jay Leno which airs at 12:00 am CET.
In September 2008, CNBC Europe changed the weeknight schedules to include full uncut editions of Late Night with Conan O'Brien broadcast in the 11:45 am CET/10:45 pm GMT 45-minute time slot. This schedule usually runs from Tuesdays to Fridays. CNBC Europe decided to stop broadcasting Late Night as of January 1, 2009, a mere two months before Conan's last show as host. Instead of following The Tonight Show reruns on weekends, CNBC now broadcasts two Tonight Show episodes in a row.
See also
List of Late Night with Conan O'Brien sketches
List of Late Night with Conan O'Brien characters
List of Late Night with Conan O'Brien episodes
Pale Force
The Tonight Show with Conan O'Brien''
List of late night network TV programs
References
Further reading
External links
Joseph Konopka scenic art journals for Late Night with Conan O'Brien, 1993-2009, held by the Billy Rose Theatre Division, New York Public Library for the Performing Arts
1993 American television series debuts
2009 American television series endings
1990s American late-night television series
2000s American late-night television series
1990s American television talk shows
2000s American television talk shows
CNBC Europe original programming
English-language television shows
O'Brien, Conan
NBC original programming
Primetime Emmy Award-winning television series
Television series by Universal Television
Television shows set in New York City
American television shows featuring puppetry
Conan O'Brien
Television series by Broadway Video
Television series by Conaco
Television shows filmed in New York City
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[
"Les Mathurins was a French acrobatic duo, active around 1952 to 1964. Their act was slapstick comedy in style and included elements of balancing, tumbling and table-sliding. The word \"Mathurin\" is a French nickname for a sailor (\"Jack Tar\" in English), and they dressed as sailors in their act.\n\nName\nThey were sometimes referred to as \"The Mathurins\" or just \"Mathurins\", and were sometimes incorrectly credited as \"Les Malthurins\" and \"Les Maturines\".\n\nNotable performances and television appearances \nThey appeared in UK variety shows including Val Parnell's Sunday Night at the London Palladium, This is Television (a television awards show in 1954) and pantomimes between 1952 and 1962. They also performed in Bertram Mills Circus at Olympia London in the 1955/6 Christmas season, where the programme names them as Sacha and Gilbert.\n\nThey also performed in the United States, notably on the television shows The Ed Sullivan Show in 1959 and The Hollywood Palace in 1964.\n\nSeveral appearances are listed in the UK newspaper The Stage, with accompanying comments such as \"A lot of fun is extracted from a tumbling acrobatic routine by Les Mathurins, two experts at the art and it is a tonic to any variety-lover to see such a worth while speciality receiving the warm appreciation it does at this theatre\", and \"A special word of praise for the energetic speciality act of Les Mathurins. Their high-speed acrobatics are exceedingly clever and novel, and the applause they receive is indeed well earned\".\n\nAcrobatic moves\nOne of the notable acrobatic moves in their act resurfaced in the 1980s as a classic b-boy (breakdancing) move known as the Windmill (b-boy move), and its discovery is therefore usually attributed to prominent b-boy Richard Colón (better known by his stage name Crazy Legs). However, Les Mathurins performed this move in an edition of the television show Sunday Night at the London Palladium on 24 November 1957. It is not known what the move was called in the acrobatics world, whether Les Mathurins created it, or if anyone performed it earlier than 1957.\n\nObscurity and confusion\nDespite their numerous appearances mentioned in The Stage and other newspapers, little is known about Les Mathurins. The only known surviving recording of their performance was an appearance on \"Sunday Night at the London Palladium\" () which was broadcast live on 24 November 1957 and is available on DVD.\n\nAnother act called Mathurins existed much earlier around 1926 and was mentioned in \"Le Mutilé de l'Algérie\" as \"Mathurins, gymnastes sur mât de navire\" (gymnasts on a ship's mast). This suggests a similar nautical theme, but it is not known whether there is any other connection between Les Mathurins and this earlier act.\n\nReferences \n\nFrench performance artists",
"The Chris Moyles Show was a BBC Radio 1 breakfast show in the United Kingdom, presented by Chris Moyles. It aired between 5 January 2004 and 14 September 2012.\n\n2011\nThere were 46 guests on the show during 2011.\n\n2010\nThere were 72 guests on the show during 2010.\n\n2009\nThere were 70 guests on the show during 2009.\n\nOther notable guests\nIn the summer of 2004, Moyles interviewed the then British Prime Minister, Tony Blair as part of Sport Relief. Among questions posed to the PM was to name his favourite type of cheese, to which Blair replied Cheddar.\n\nReferences\n\nBBC Radio 1"
] |
[
"Simone de Beauvoir",
"Personal life"
] |
C_5ed7bcbf9b4d438faac7388fd5948edc_0
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Did she ever marry?
| 1 |
Did Simone de Beauvoir ever marry?
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Simone de Beauvoir
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Beginning in 1929, de Beauvoir and Jean-Paul Sartre were partners for fifty-one years until his death in 1980. De Beauvoir chose never to marry or set up a joint household and she never had children. This gave her the time to advance her education and engage in political causes, to write and teach, and to have lovers. Perhaps her most famous lover was American author Nelson Algren whom she met in Chicago in 1947, and to whom she wrote across the Atlantic as "my beloved husband." Algren won the National Book Award for The Man with the Golden Arm. In 1950, and in 1954, de Beauvoir won France's most prestigious literary prize for The Mandarins in which Algren is the character Lewis Brogan. Algren vociferously objected to their intimacy becoming public. Years after they separated, she was buried wearing his gift of a silver ring. However, she lived with Claude Lanzmann from 1952 to 1959. De Beauvoir was bisexual and her relationships with young women were controversial. Former student Bianca Lamblin (originally Bianca Bienenfeld) wrote in her book Memoires d'une jeune fille derangee (English: Memoirs of a Disturbed Young Lady), that, while she was a student at Lycee Moliere, she had been sexually exploited by her teacher de Beauvoir, who was in her 30s at the time. In 1943, de Beauvoir was suspended from her teaching job, due to an accusation that she had seduced her 17-year-old lycee pupil Natalie Sorokine in 1939. Sorokine's parents laid formal charges against de Beauvoir for debauching a minor and as a result she had her license to teach in France permanently revoked. In 1977, de Beauvoir, Sartre, Roland Barthes, Michel Foucault, Jacques Derrida and much of the era's intelligensia signed a petition seeking to abrogate the age of consent in France. CANNOTANSWER
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De Beauvoir chose never to marry or set up a joint household and she never had children.
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Simone Lucie Ernestine Marie Bertrand de Beauvoir (, ; ; 9 January 1908 – 14 April 1986) was a French existentialist philosopher, writer, social theorist and feminist activist. Though she did not consider herself a philosopher, and even though she was not considered one at the time of her death, she had a significant influence on both feminist existentialism and feminist theory.
Beauvoir wrote novels, essays, biographies, autobiographies and monographs on philosophy, politics, and social issues. She was known for her 1949 treatise The Second Sex, a detailed analysis of women's oppression and a foundational tract of contemporary feminism; and for her novels, including She Came to Stay and The Mandarins. Her most enduring contribution to literature is her memoirs, notably the first volume, "Mémoires d'une jeune fille rangée" (1958), which have a warmth and descriptive power. She won the 1954 Prix Goncourt, the 1975 Jerusalem Prize, and the 1978 Austrian State Prize for European Literature. She was also known for her open, lifelong relationship with French philosopher Jean-Paul Sartre.
Early years
Beauvoir was born on 9 January 1908 into a bourgeois Parisian family in the 6th arrondissement. Her parents were Georges Bertrand de Beauvoir, a lawyer, who once aspired to be an actor, and Françoise Beauvoir (née Brasseur), a wealthy banker's daughter and devout Catholic. Simone's sister, Hélène, was born two years later. The family struggled to maintain their bourgeois status after losing much of their fortune shortly after World War I, and Françoise insisted the two daughters be sent to a prestigious convent school.
Beauvoir was intellectually precocious, fueled by her father's encouragement; he reportedly would boast, "Simone thinks like a man!" Because of her family's straitened circumstances, she could no longer rely on her dowry, and like other middle-class girls of her age, her marriage opportunities were put at risk. She took this opportunity to take steps towards earning a living for herself.
She first worked with Maurice Merleau-Ponty and Claude Lévi-Strauss, when all three completed their practice teaching requirements at the same secondary school. Although not officially enrolled, she sat in on courses at the École Normale Supérieure in preparation for the agrégation in philosophy, a highly competitive postgraduate examination which serves as a national ranking of students. It was while studying for it that she met École Normale students Jean-Paul Sartre, Paul Nizan, and René Maheu (who gave her the lasting nickname "Castor", or "beaver"). The jury for the agrégation narrowly awarded Sartre first place instead of Beauvoir, who placed second and, at age 21, was the youngest person ever to pass the exam.
Writing of her youth in Memoirs of a Dutiful Daughter she said:
"...my father's individualism and pagan ethical standards were in complete contrast to the rigidly moral conventionalism of my mother's teaching. This disequilibrium, which made my life a kind of endless disputation, is the main reason why I became an intellectual."
Secondary and post-secondary education
Beauvoir pursued post-secondary education after completing her high school years at Lycée Fenelon. After passing baccalaureate exams in mathematics and philosophy in 1925, she studied mathematics at the Institut Catholique de Paris and literature/languages at the . She then studied philosophy at the Sorbonne and after completing her degree in 1928, wrote her (roughly equivalent to an M.A. thesis) on Leibniz for Léon Brunschvicg (the topic was "Le concept chez Leibniz" ["The Concept in Leibniz"]). Her studies of political philosophy through university influenced her to start thinking of societal concerns rather than her own individual issues.
Religious upbringing
Beauvoir was raised in a strict Catholic household. She had been sent to convent schools as a youth. She was deeply religious as a child, at one point intending to become a nun. At age 14, Beauvoir questioned her faith as she saw many changes in the world after witnessing tragedies throughout her life. She abandoned her faith in her early teens and remained an atheist for the rest of her life. Beauvoir quotes "Faith allows an evasion of those difficulties which the atheist confronts honestly. And to crown all, the believer derives a sense of great superiority from this very cowardice itself."
Middle years
From 1929 until 1943, Beauvoir taught at the lycée level until she could support herself solely on the earnings of her writings. She taught at the (Marseille), the , and the (1936–39).
Beauvoir and Jean-Paul Sartre met during her college years. Intrigued by her determination as an educator, he sought out to make their relationship romantic. However, she had no interest in doing so. During October 1929, Jean-Paul Sartre and Beauvoir became a couple and, after they were confronted by her father, Sartre asked her to marry him on a provisional basis: One day while they were sitting on a bench outside the Louvre, he said, "Let's sign a two-year lease". Though Beauvoir wrote, "Marriage was impossible. I had no dowry", scholars point out that her ideal relationships described in The Second Sex and elsewhere bore little resemblances to the marriage standards of the day. Instead, she and Sartre entered into a lifelong "soul partnership", which was sexual but not exclusive, nor did it involve living together.
Sartre and Beauvoir always read each other's work. Debate continues about the extent to which they influenced each other in their existentialist works, such as Sartre's Being and Nothingness and Beauvoir's She Came to Stay and "Phenomenology and Intent". However, recent studies of Beauvoir's work focus on influences other than Sartre, including Hegel and Leibniz. The Neo-Hegelian revival led by Alexandre Kojève and Jean Hyppolite in the 1930s inspired a whole generation of French thinkers, including Sartre, to discover Hegel's Phenomenology of Spirit. However, Beauvoir, reading Hegel in German during the war, produced an original critique of his dialectic of consciousness.
Personal life
Beauvoir's prominent open relationships at times overshadowed her substantial academic reputation. A scholar lecturing with her chastised their "distinguished [Harvard] audience [because] every question asked about Sartre concerned his work, while all those asked about Beauvoir concerned her personal life." Beginning in 1929, Beauvoir and Sartre were partners and remained so for 51 years, until his death in 1980. She chose never to marry and never had children. This gave her the time to advance her education and engage in political causes, write and teach, and take lovers. She lived with Claude Lanzmann from 1952 to 1959.
Perhaps her most famous lover was American author Nelson Algren, whom she met in Chicago in 1947, and to whom she wrote across the Atlantic as "my beloved husband." Algren won the National Book Award for The Man with the Golden Arm in 1950, and in 1954, Beauvoir won France's most prestigious literary prize for The Mandarins, in which Algren is the character Lewis Brogan. Algren vociferously objected to their intimacy becoming public. Years after they separated, she was buried wearing his gift of a silver ring.
Beauvoir was bisexual, and her relationships with young women were controversial. French author Bianca Lamblin (originally Bianca Bienenfeld) wrote in her book Mémoires d'une Jeune Fille Dérangée (published in English under the title A Disgraceful Affair) that, while a student at Lycée Molière, she was sexually exploited by her teacher Beauvoir, who was in her 30s. Lamblin had affairs with both Jean-Paul Sartre and Beauvoir. In 1943, Beauvoir was suspended from her teaching position when she was accused of seducing her 17-year-old lycée pupil Natalie Sorokine in 1939. Sorokine's parents laid formal charges against Beauvoir for debauching a minor (the age of consent in France at the time was 15), and Beauvoir's license to teach in France was revoked, although it was subsequently reinstated.
In 1977, Beauvoir, Sartre, Roland Barthes, Michel Foucault, Jacques Derrida and much of the era's intelligentsia signed a petition seeking to completely remove the age of consent in France.
Notable works
She Came to Stay
Beauvoir published her first novel She Came to Stay in 1943. It has been assumed that it is inspired by her and Sartre's sexual relationship with Olga Kosakiewicz and Wanda Kosakiewicz. Olga was one of her students in the Rouen secondary school where Beauvoir taught during the early 1930s. She grew fond of Olga. Sartre tried to pursue Olga but she rejected him, so he began a relationship with her sister Wanda. Upon his death, Sartre was still supporting Wanda. He also supported Olga for years, until she met and married Jacques-Laurent Bost, a lover of Beauvoir. However, the main thrust of the novel is philosophical, a scene in which to situate Beauvoir's abiding philosophical pre-occupation - the relationship between the self and the other.
In the novel, set just before the outbreak of World War II, Beauvoir creates one character from the complex relationships of Olga and Wanda. The fictionalised versions of Beauvoir and Sartre have a ménage à trois with the young woman. The novel also delves into Beauvoir and Sartre's complex relationship and how it was affected by the ménage à trois.
She Came to Stay was followed by many others, including The Blood of Others, which explores the nature of individual responsibility, telling a love story between two young French students participating in the Resistance in World War II.
Existentialist ethics
In 1944, Beauvoir wrote her first philosophical essay, Pyrrhus et Cinéas, a discussion on existentialist ethics. She continued her exploration of existentialism through her second essay The Ethics of Ambiguity (1947); it is perhaps the most accessible entry into French existentialism. In the essay, Beauvoir clears up some inconsistencies that many, Sartre included, have found in major existentialist works such as Being and Nothingness. In The Ethics of Ambiguity, Beauvoir confronts the existentialist dilemma of absolute freedom vs. the constraints of circumstance.
Les Temps modernes
At the end of World War II, Beauvoir and Sartre edited Les Temps modernes, a political journal which Sartre founded along with Maurice Merleau-Ponty and others. Beauvoir used Les Temps Modernes to promote her own work and explore her ideas on a small scale before fashioning essays and books. Beauvoir remained an editor until her death.
Sexuality, existentialist feminism and The Second Sex
The Second Sex, first published in 1949 in French as Le Deuxième Sexe, turns the existentialist mantra that existence precedes essence into a feminist one: "One is not born but becomes a woman" (French: "On ne naît pas femme, on le devient"). With this famous phrase, Beauvoir first articulated what has come to be known as the sex-gender distinction, that is, the distinction between biological sex and the social and historical construction of gender and its attendant stereotypes. Beauvoir argues that "the fundamental source of women's oppression is its [femininity's] historical and social construction as the quintessential".
Beauvoir defines women as the "second sex" because women are defined in relation to men. She pointed out that Aristotle argued women are "female by virtue of a certain lack of qualities", while Thomas Aquinas referred to woman as "imperfect man" and the "incidental" being. She quotes "In itself, homosexuality is as limiting as heterosexuality: the ideal should be to be capable of loving a woman or a man; either, a human being, without feeling fear, restraint, or obligation."
Beauvoir asserted that women are as capable of choice as men, and thus can choose to elevate themselves, moving beyond the "immanence" to which they were previously resigned and reaching "transcendence", a position in which one takes responsibility for oneself and the world, where one chooses one's freedom.
Chapters of The Second Sex were originally published in Les Temps modernes, in June 1949. The second volume came a few months after the first in France. It was published soon after in America due to the quick translation by Howard Parshley, as prompted by Blanche Knopf, wife of publisher Alfred A. Knopf. Because Parshley had only a basic familiarity with the French language, and a minimal understanding of philosophy (he was a professor of biology at Smith College), much of Beauvoir's book was mistranslated or inappropriately cut, distorting her intended message. For years, Knopf prevented the introduction of a more accurate retranslation of Beauvoir's work, declining all proposals despite the efforts of existentialist scholars.
Only in 2009 was there a second translation, to mark the 60th anniversary of the original publication. Constance Borde and Sheila Malovany-Chevallier produced the first integral translation in 2010, reinstating a third of the original work.
In the chapter "Woman: Myth and Reality" of The Second Sex, Beauvoir argued that men had made women the "Other" in society by application of a false aura of "mystery" around them. She argued that men used this as an excuse not to understand women or their problems and not to help them, and that this stereotyping was always done in societies by the group higher in the hierarchy to the group lower in the hierarchy. She wrote that a similar kind of oppression by hierarchy also happened in other categories of identity, such as race, class, and religion, but she claimed that it was nowhere more true than with gender in which men stereotyped women and used it as an excuse to organize society into a patriarchy.
Despite her contributions to the feminist movement, especially the French women's liberation movement, and her beliefs in women's economic independence and equal education, Beauvoir was initially reluctant to call herself a feminist. However, after observing the resurgence of the feminist movement in the late 1960s and early 1970s, Beauvoir stated she no longer believed a socialist revolution to be enough to bring about women's liberation. She publicly declared herself a feminist in 1972 in an interview with Le Nouvel Observateur.
In 2018 the manuscript pages of Le Deuxième Sexe were published. At the time her adopted daughter, Sylvie Le Bon-Beauvoir, a philosophy professor, described her mother's writing process: Beauvoir wrote every page of her books longhand first and only after that would hire typists.
The Mandarins
Published in 1954, The Mandarins won her France's highest literary prize, the Prix Goncourt. The book is set after the end of World War II and follows the personal lives of philosophers and friends among Sartre's and Beauvoir's intimate circle, including her relationship with American writer Nelson Algren, to whom the book was dedicated.
Algren was outraged by the frank way Beauvoir described their sexual experiences in both The Mandarins and her autobiographies. Algren vented his outrage when reviewing American translations of Beauvoir's work. Much material bearing on this episode in Beauvoir's life, including her love letters to Algren, entered the public domain only after her death.
Les Inséparables
Beauvoir's early novel Les Inséparables, long suppressed, was published in French in 2020 and in two different English translations in 2021.<ref>Reviewed 23 Aug. 2021 by Merve Emre in The New Yorker" https://www.newyorker.com/magazine/2021/08/30/simone-de-beauvoirs-lost-novel-of-early-love</ref> Written in 1954, the book describes her first love, a classmate named Elisabeth Lacoin ("Zaza") who died before age 22, and had as a teenager a "passionate and tragic" relationship with Beauvoir and Merleau-Ponty, then teaching at the same school. Disapproved by Sartre, the novel was deemed "too intimate" to be published during Beauvoir's lifetime.
Later years
Beauvoir wrote popular travel diaries about time spent in the United States and China and published essays and fiction rigorously, especially throughout the 1950s and 1960s. She published several volumes of short stories, including The Woman Destroyed, which, like some of her other later work, deals with aging.
1980 saw the publication of When Things of the Spirit Come First, a set of short stories centred around and based upon women important to her earlier years. Though written long before the novel She Came to Stay, Beauvoir did not at the time consider the stories worth publishing, allowing some forty years to pass before doing so.
Sartre and Merleau-Ponty had a longstanding feud, which led Merleau-Ponty to leave Les Temps Modernes. Beauvoir sided with Sartre and ceased to associate with Merleau-Ponty. In Beauvoir's later years, she hosted the journal's editorial meetings in her flat and contributed more than Sartre, whom she often had to force to offer his opinions.
Beauvoir also wrote a four-volume autobiography, consisting of: Memoirs of a Dutiful Daughter; The Prime of Life; Force of Circumstance (sometimes published in two volumes in English translation: After the War and Hard Times); and All Said and Done. In 1964 Beauvoir published a novella-length autobiography, A Very Easy Death, covering the time she spent visiting her ageing mother, who was dying of cancer. The novella brings up questions of ethical concerns with truth-telling in doctor-patient relationships.
Her 1970 long essay La Vieillesse (The Coming of Age) is a rare instance of an intellectual meditation on the decline and solitude all humans experience if they do not die before about the age of 60.
In the 1970s Beauvoir became active in France's women's liberation movement. She wrote and signed the Manifesto of the 343 in 1971, a manifesto that included a list of famous women who claimed to have had an abortion, then illegal in France. Some argue most of the women had not had abortions, including Beauvoir. Signatories were diverse as Catherine Deneuve, Delphine Seyrig, and Beauvoir's sister Poupette. In 1974, abortion was legalised in France.
In a 1975 interview with Betty Friedan Beauvoir said "No woman should be authorized to stay at home and raise her children. Society should be totally different. Women should not have that choice, precisely because if there is such a choice, too many women will make that one."
In about 1976 Beauvoir and Sylvie Le Bon made a trip to New York City in the United States to visit Kate Millett on her farm.
In 1981 she wrote La Cérémonie Des Adieux (A Farewell to Sartre), a painful account of Sartre's last years. In the opening of Adieux, Beauvoir notes that it is the only major published work of hers which Sartre did not read before its publication.
She contributed the piece "Feminism – alive, well, and in constant danger" to the 1984 anthology Sisterhood Is Global: The International Women's Movement Anthology, edited by Robin Morgan.
After Sartre died in 1980, Beauvoir published his letters to her with edits to spare the feelings of people in their circle who were still living. After Beauvoir's death, Sartre's adopted daughter and literary heir Arlette Elkaïm would not let many of Sartre's letters be published in unedited form. Most of Sartre's letters available today have Beauvoir's edits, which include a few omissions but mostly the use of pseudonyms. Beauvoir's adopted daughter and literary heir Sylvie Le Bon, unlike Elkaïm, published Beauvoir's unedited letters to both Sartre and Algren.
Beauvoir died of pneumonia on 14 April 1986 in Paris, aged 78. She is buried next to Sartre at the Montparnasse Cemetery in Paris. She was honored as a figure at the forefront of the struggle for women's rights around the time of her passing.
Impact
Simone de Beauvoir's The Second Sex is considered a foundational work in the history of feminism. Beauvoir had denied being a feminist multiple times but ultimately admitted that she was one after the influential Second Sex became crucial in the world of feminism. The work has had a profound influence, opening the way for second wave feminism in the United States, Canada, Australia, and around the world. Despite the fact that Beauvoir has been quoted as saying "There is a certain unreasonable demand that I find a little stupid because it would enclose me, immobilize me completely in a sort of feminist concrete block." Her works on feminism have paved the way for all future feminists. Founders of the second wave read The Second Sex in translation, including Kate Millett, Shulamith Firestone, Juliet Mitchell, Ann Oakley and Germaine Greer. All acknowledged their profound debt to Beauvoir, including visiting her in France, consulting with her at crucial moments, and dedicating works to her. Betty Friedan, whose 1963 book The Feminine Mystique is often regarded as the opening salvo of second wave feminism in the United States, later said that reading The Second Sex in the early 1950s "led me to whatever original analysis of women's existence I have been able to contribute to the Women's movement and to its unique politics. I looked to Simone de Beauvoir for a philosophical and intellectual authority."
At one point in the early seventies, Beauvoir also aligned herself with the League for Woman's rights as a means to campaign and fight against sexism in the French society. Beauvoir's influence goes beyond just her impact on second wave founders, and extends to numerous aspects of feminism, including literary criticism, history, philosophy, theology, criticism of scientific discourse, and psychotherapy. When Beauvoir first became involved with the feminism movement, one of her first objectives was that of legalizing abortion.Donna Haraway wrote that, "despite important differences, all the modern feminist meanings of gender have roots in Simone de Beauvoir's claim that 'one is not born a woman [one becomes one]'". This "most famous feminist sentence ever written" is echoed in the title of Monique Wittig's 1981 essay One Is Not Born a Woman. Judith Butler took the concept a step further, arguing that Beauvoir's choice of the verb to become suggests that gender is a process, constantly being renewed in an ongoing interaction between the surrounding culture and individual choice.
Prizes
Prix Goncourt, 1954
Jerusalem Prize, 1975
Austrian State Prize for European Literature, 1978
Works
List of publications (non-exhaustive)
L'Invitée (1943) (English – She Came to Stay) [novel]
Pyrrhus et Cinéas (1944) [nonfiction]
Le Sang des autres (1945) (English – The Blood of Others) [novel]
Les Bouches inutiles (1945) (English - Who Shall Die?) [drama]
Tous les hommes sont mortels (1946) (English – All Men Are Mortal) [novel]
Pour une morale de l'ambiguïté (1947) (English – The Ethics of Ambiguity) [nonfiction]
"America Day by Day" (1948) (English – 1999 – Carol Cosman (Translator and Douglas Brinkley (Foreword) [nonfiction]
Le Deuxième Sexe (1949) (English – The Second Sex) [nonfiction]
L'Amérique au jour le jour (1954) (English – America Day by Day)
Les Mandarins (1954) (English – The Mandarins) [novel]
Must We Burn Sade? (1955)
The Long March (1957) [nonfiction]
Memoirs of a Dutiful Daughter (1958)
The Prime of Life (1960)
Force of Circumstance (1963)
A Very Easy Death (1964)
Les Belles Images (1966) [novel]
The Woman Destroyed (1967) [short stories]
The Coming of Age (1970) [nonfiction]
All Said and Done (1972)
Old Age (1972) [nonfiction]
When Things of the Spirit Come First (1979) [novel]
Adieux: A Farewell to Sartre (1981)
Letters to Sartre (1990)
Journal de guerre, Sept 1939 – Jan 1941 (1990); English – Wartime Diary (2009)
A Transatlantic Love Affair: Letters to Nelson Algren (1998)
Diary of a Philosophy Student, 1926–27 (2006)
Cahiers de jeunesse, 1926–1930 (2008)
Selected translations
Patrick O'Brian was Beauvoir's principal English translator, until he attained commercial success as a novelist.
Philosophical Writings (Urbana : University of Illinois Press, 2004, edited by Margaret A. Simons et al.) contains a selection of essays by Beauvoir translated for the first time into English. Among those are: Pyrrhus and Cineas, discussing the futility or utility of action, two previously unpublished chapters from her novel She Came to Stay and an introduction to Ethics of Ambiguity.
See also
Art Shay
Roman à clef
Simone Weil
List of women's rights activists
Place Jean-Paul-Sartre-et-Simone-de-Beauvoir
References
Sources
Appignanesi, Lisa, 2005, Simone de Beauvoir, London: Haus,
Bair, Deirdre, 1990. Simone de Beauvoir: A Biography. New York: Summit Books,
Rowley, Hazel, 2005. Tête-a-Tête: Simone de Beauvoir and Jean-Paul Sartre. New York: HarperCollins.
Suzanne Lilar, 1969. Le Malentendu du Deuxième Sexe (with collaboration of Prof. Dreyfus). Paris, University Presses of France (Presses Universitaires de France).
Fraser, M., 1999. Identity Without Selfhood: Simone de Beauvoir and Bisexuality, Cambridge and New York: Cambridge University Press.
Axel Madsen, Hearts and Minds: The Common Journey of Simone de Beauvoir and Jean-Paul Sartre, William Morrow & Co, 1977.
Hélène Rouch, 2001–2002, Trois conceptions du sexe: Simone de Beauvoir entre Adrienne Sahuqué et Suzanne Lilar, Simone de Beauvoir Studies, n° 18, pp. 49–60.
Simone de Beauvoir, Marguerite Yourcenar, Nathalie Sarraute, 2002. Conférence Élisabeth Badinter, Jacques Lassalle & Lucette Finas, .
Further reading
Le Malentendu du Deuxième Sexe by Suzanne Lilar, 1969.
Feminist Theory and Simone de Beauvoir by Toril Moi, 1990.
Appignanesi, Lisa. Simone de Beauvoir. London: Penguin. 1988. .
Bair, Deirdre. Simone de Beauvoir: A Biography. New York: Summit Books. 1990. .
Francis, Claude. Simone de Beauvoir: A Life, A Love Story. Lisa Nesselson (Translator). New York: St. Martin's, 1987. .
Okely, Judith. Simone de Beauvoir. New York: Pantheon. 1986. .
External links
Guardian Books "Author Page", with profile and links to further articles.
Victoria Brittain et al discuss Simone de Beauvoir's lasting influence, ICA 1989
"Simone de Beauvoir", Great Lives, BBC Radio 4, 22 April 2011
Kate Kirkpatrick. (6 November 2017) "What is authentic love? A View from Simone de Beauvoir" . IAI News''.
1908 births
1986 deaths
20th-century French non-fiction writers
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20th-century French philosophers
20th-century French women writers
Atheist feminists
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LGBT memoirists
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Metaphysicians
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Writers from Paris
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French magazine founders
LGBT philosophers
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"I Told You So is a 1970 Ghanaian movie. The movie portrays Ghanaians and their way of life in a satirical style. It also gives insight into the life of a young lady who did not take the advice of her father when about to marry a man, she did not know anything about the man she was going to marry, but rather took her mother's and uncle's advice because of the wealth and power the man has.\n\nThe young lady later finds out that the man she is supposed to marry was an armed robber. She was unhappy of the whole incident. When her dad ask what had happened, she replied that the man she was supposed to marry is an armed robber; her father ended by saying \"I told you so\".\n\nCast\nBobe Cole\nMargret Quainoo (Araba Stamp)\nKweku Crankson (Osuo Abrobor)\n\nReferences\n\nExternal links\n \n I TOLD YOU SO GHANAIAN MOVIE\n\n1970 films\nGhanaian films",
"\"The King Who Wished to Marry His Daughter\" is a Scottish fairy tale collected by John Francis Campbell in Popular Tales of the West Highlands, listing his informant as Ann Darroch from Islay.\n\nIt is Aarne-Thompson type 510B, unnatural love. Others of this type include Cap O' Rushes, Catskin, Little Cat Skin, Allerleirauh, Donkeyskin, The She-Bear, Tattercoats, Mossycoat, The Princess That Wore A Rabbit-Skin Dress, and The Bear.\n\nSynopsis\nA king lost his wife a long time ago, and declared he would not marry anyone who did not fit her clothes. One day, their daughter tried on her dress and found it fit. Her father declared he would marry her. At her foster-mother's advice, she put him off with demands for clothing: a dress of swan's down, a dress of moorland canach, a silk dress that stood on the ground with gold and silver, a gold shoe and a silver shoe, and a chest that could lock inside and out, and travel over land and sea. When she got the chest, she put her clothing in it and got in herself, and asked her father to put it to sea, so she could see how well it worked. It carried her off to another shore.\n\nThere, a herder-boy would have broken it open, but she got him to get his father instead. She stayed with his father for a time, and went into service at the king's house, in the kitchen. She refused to go to the sermon because she had bread to bake, and sneaked off to go dressed in the swan-down dress and the king's son fell in love with her. She went again, in the moorland canach dress, and then in that of gold and silver, with the shoes, but the third time, the king's son had set a guard, and she escaped, but leaving a shoe behind.\n\nWhen the king's son tried it on women, a bird sang that it was not that one but the kitchen maid. Every woman failed, and he fell ill. His mother went to the kitchen to talk, and the princess asked to try it. She persuaded her son, and it fit. They married and lived happily ever after.\n\nVariants\nReverend Sabine Baring-Gould collected an English variant titled The Golden Bull: a princess is forced by her father to wed a prince from a remote country for political reasons. Disagreeing with the marriage, she asks her father for three dresses (the first depicting the night sky \"besprent with stars\"; the second one a sky with clouds and the third \"embroidered all over with birds\") and for a hollowed out metallic golden bull, which she intends to use as a hiding spot.\n\nSee also\nFair, Brown and Trembling\n\nReferences\n\nKing who Wished to Marry His Daughter\nKing who Wished to Marry His Daughter"
] |
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"Simone de Beauvoir",
"Personal life",
"Did she ever marry?",
"De Beauvoir chose never to marry or set up a joint household and she never had children."
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C_5ed7bcbf9b4d438faac7388fd5948edc_0
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did she ever have interest in men?
| 2 |
Did Simone de Beauvoir ever have interest in men?
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Simone de Beauvoir
|
Beginning in 1929, de Beauvoir and Jean-Paul Sartre were partners for fifty-one years until his death in 1980. De Beauvoir chose never to marry or set up a joint household and she never had children. This gave her the time to advance her education and engage in political causes, to write and teach, and to have lovers. Perhaps her most famous lover was American author Nelson Algren whom she met in Chicago in 1947, and to whom she wrote across the Atlantic as "my beloved husband." Algren won the National Book Award for The Man with the Golden Arm. In 1950, and in 1954, de Beauvoir won France's most prestigious literary prize for The Mandarins in which Algren is the character Lewis Brogan. Algren vociferously objected to their intimacy becoming public. Years after they separated, she was buried wearing his gift of a silver ring. However, she lived with Claude Lanzmann from 1952 to 1959. De Beauvoir was bisexual and her relationships with young women were controversial. Former student Bianca Lamblin (originally Bianca Bienenfeld) wrote in her book Memoires d'une jeune fille derangee (English: Memoirs of a Disturbed Young Lady), that, while she was a student at Lycee Moliere, she had been sexually exploited by her teacher de Beauvoir, who was in her 30s at the time. In 1943, de Beauvoir was suspended from her teaching job, due to an accusation that she had seduced her 17-year-old lycee pupil Natalie Sorokine in 1939. Sorokine's parents laid formal charges against de Beauvoir for debauching a minor and as a result she had her license to teach in France permanently revoked. In 1977, de Beauvoir, Sartre, Roland Barthes, Michel Foucault, Jacques Derrida and much of the era's intelligensia signed a petition seeking to abrogate the age of consent in France. CANNOTANSWER
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was bisexual and her relationships with young women were controversial.
|
Simone Lucie Ernestine Marie Bertrand de Beauvoir (, ; ; 9 January 1908 – 14 April 1986) was a French existentialist philosopher, writer, social theorist and feminist activist. Though she did not consider herself a philosopher, and even though she was not considered one at the time of her death, she had a significant influence on both feminist existentialism and feminist theory.
Beauvoir wrote novels, essays, biographies, autobiographies and monographs on philosophy, politics, and social issues. She was known for her 1949 treatise The Second Sex, a detailed analysis of women's oppression and a foundational tract of contemporary feminism; and for her novels, including She Came to Stay and The Mandarins. Her most enduring contribution to literature is her memoirs, notably the first volume, "Mémoires d'une jeune fille rangée" (1958), which have a warmth and descriptive power. She won the 1954 Prix Goncourt, the 1975 Jerusalem Prize, and the 1978 Austrian State Prize for European Literature. She was also known for her open, lifelong relationship with French philosopher Jean-Paul Sartre.
Early years
Beauvoir was born on 9 January 1908 into a bourgeois Parisian family in the 6th arrondissement. Her parents were Georges Bertrand de Beauvoir, a lawyer, who once aspired to be an actor, and Françoise Beauvoir (née Brasseur), a wealthy banker's daughter and devout Catholic. Simone's sister, Hélène, was born two years later. The family struggled to maintain their bourgeois status after losing much of their fortune shortly after World War I, and Françoise insisted the two daughters be sent to a prestigious convent school.
Beauvoir was intellectually precocious, fueled by her father's encouragement; he reportedly would boast, "Simone thinks like a man!" Because of her family's straitened circumstances, she could no longer rely on her dowry, and like other middle-class girls of her age, her marriage opportunities were put at risk. She took this opportunity to take steps towards earning a living for herself.
She first worked with Maurice Merleau-Ponty and Claude Lévi-Strauss, when all three completed their practice teaching requirements at the same secondary school. Although not officially enrolled, she sat in on courses at the École Normale Supérieure in preparation for the agrégation in philosophy, a highly competitive postgraduate examination which serves as a national ranking of students. It was while studying for it that she met École Normale students Jean-Paul Sartre, Paul Nizan, and René Maheu (who gave her the lasting nickname "Castor", or "beaver"). The jury for the agrégation narrowly awarded Sartre first place instead of Beauvoir, who placed second and, at age 21, was the youngest person ever to pass the exam.
Writing of her youth in Memoirs of a Dutiful Daughter she said:
"...my father's individualism and pagan ethical standards were in complete contrast to the rigidly moral conventionalism of my mother's teaching. This disequilibrium, which made my life a kind of endless disputation, is the main reason why I became an intellectual."
Secondary and post-secondary education
Beauvoir pursued post-secondary education after completing her high school years at Lycée Fenelon. After passing baccalaureate exams in mathematics and philosophy in 1925, she studied mathematics at the Institut Catholique de Paris and literature/languages at the . She then studied philosophy at the Sorbonne and after completing her degree in 1928, wrote her (roughly equivalent to an M.A. thesis) on Leibniz for Léon Brunschvicg (the topic was "Le concept chez Leibniz" ["The Concept in Leibniz"]). Her studies of political philosophy through university influenced her to start thinking of societal concerns rather than her own individual issues.
Religious upbringing
Beauvoir was raised in a strict Catholic household. She had been sent to convent schools as a youth. She was deeply religious as a child, at one point intending to become a nun. At age 14, Beauvoir questioned her faith as she saw many changes in the world after witnessing tragedies throughout her life. She abandoned her faith in her early teens and remained an atheist for the rest of her life. Beauvoir quotes "Faith allows an evasion of those difficulties which the atheist confronts honestly. And to crown all, the believer derives a sense of great superiority from this very cowardice itself."
Middle years
From 1929 until 1943, Beauvoir taught at the lycée level until she could support herself solely on the earnings of her writings. She taught at the (Marseille), the , and the (1936–39).
Beauvoir and Jean-Paul Sartre met during her college years. Intrigued by her determination as an educator, he sought out to make their relationship romantic. However, she had no interest in doing so. During October 1929, Jean-Paul Sartre and Beauvoir became a couple and, after they were confronted by her father, Sartre asked her to marry him on a provisional basis: One day while they were sitting on a bench outside the Louvre, he said, "Let's sign a two-year lease". Though Beauvoir wrote, "Marriage was impossible. I had no dowry", scholars point out that her ideal relationships described in The Second Sex and elsewhere bore little resemblances to the marriage standards of the day. Instead, she and Sartre entered into a lifelong "soul partnership", which was sexual but not exclusive, nor did it involve living together.
Sartre and Beauvoir always read each other's work. Debate continues about the extent to which they influenced each other in their existentialist works, such as Sartre's Being and Nothingness and Beauvoir's She Came to Stay and "Phenomenology and Intent". However, recent studies of Beauvoir's work focus on influences other than Sartre, including Hegel and Leibniz. The Neo-Hegelian revival led by Alexandre Kojève and Jean Hyppolite in the 1930s inspired a whole generation of French thinkers, including Sartre, to discover Hegel's Phenomenology of Spirit. However, Beauvoir, reading Hegel in German during the war, produced an original critique of his dialectic of consciousness.
Personal life
Beauvoir's prominent open relationships at times overshadowed her substantial academic reputation. A scholar lecturing with her chastised their "distinguished [Harvard] audience [because] every question asked about Sartre concerned his work, while all those asked about Beauvoir concerned her personal life." Beginning in 1929, Beauvoir and Sartre were partners and remained so for 51 years, until his death in 1980. She chose never to marry and never had children. This gave her the time to advance her education and engage in political causes, write and teach, and take lovers. She lived with Claude Lanzmann from 1952 to 1959.
Perhaps her most famous lover was American author Nelson Algren, whom she met in Chicago in 1947, and to whom she wrote across the Atlantic as "my beloved husband." Algren won the National Book Award for The Man with the Golden Arm in 1950, and in 1954, Beauvoir won France's most prestigious literary prize for The Mandarins, in which Algren is the character Lewis Brogan. Algren vociferously objected to their intimacy becoming public. Years after they separated, she was buried wearing his gift of a silver ring.
Beauvoir was bisexual, and her relationships with young women were controversial. French author Bianca Lamblin (originally Bianca Bienenfeld) wrote in her book Mémoires d'une Jeune Fille Dérangée (published in English under the title A Disgraceful Affair) that, while a student at Lycée Molière, she was sexually exploited by her teacher Beauvoir, who was in her 30s. Lamblin had affairs with both Jean-Paul Sartre and Beauvoir. In 1943, Beauvoir was suspended from her teaching position when she was accused of seducing her 17-year-old lycée pupil Natalie Sorokine in 1939. Sorokine's parents laid formal charges against Beauvoir for debauching a minor (the age of consent in France at the time was 15), and Beauvoir's license to teach in France was revoked, although it was subsequently reinstated.
In 1977, Beauvoir, Sartre, Roland Barthes, Michel Foucault, Jacques Derrida and much of the era's intelligentsia signed a petition seeking to completely remove the age of consent in France.
Notable works
She Came to Stay
Beauvoir published her first novel She Came to Stay in 1943. It has been assumed that it is inspired by her and Sartre's sexual relationship with Olga Kosakiewicz and Wanda Kosakiewicz. Olga was one of her students in the Rouen secondary school where Beauvoir taught during the early 1930s. She grew fond of Olga. Sartre tried to pursue Olga but she rejected him, so he began a relationship with her sister Wanda. Upon his death, Sartre was still supporting Wanda. He also supported Olga for years, until she met and married Jacques-Laurent Bost, a lover of Beauvoir. However, the main thrust of the novel is philosophical, a scene in which to situate Beauvoir's abiding philosophical pre-occupation - the relationship between the self and the other.
In the novel, set just before the outbreak of World War II, Beauvoir creates one character from the complex relationships of Olga and Wanda. The fictionalised versions of Beauvoir and Sartre have a ménage à trois with the young woman. The novel also delves into Beauvoir and Sartre's complex relationship and how it was affected by the ménage à trois.
She Came to Stay was followed by many others, including The Blood of Others, which explores the nature of individual responsibility, telling a love story between two young French students participating in the Resistance in World War II.
Existentialist ethics
In 1944, Beauvoir wrote her first philosophical essay, Pyrrhus et Cinéas, a discussion on existentialist ethics. She continued her exploration of existentialism through her second essay The Ethics of Ambiguity (1947); it is perhaps the most accessible entry into French existentialism. In the essay, Beauvoir clears up some inconsistencies that many, Sartre included, have found in major existentialist works such as Being and Nothingness. In The Ethics of Ambiguity, Beauvoir confronts the existentialist dilemma of absolute freedom vs. the constraints of circumstance.
Les Temps modernes
At the end of World War II, Beauvoir and Sartre edited Les Temps modernes, a political journal which Sartre founded along with Maurice Merleau-Ponty and others. Beauvoir used Les Temps Modernes to promote her own work and explore her ideas on a small scale before fashioning essays and books. Beauvoir remained an editor until her death.
Sexuality, existentialist feminism and The Second Sex
The Second Sex, first published in 1949 in French as Le Deuxième Sexe, turns the existentialist mantra that existence precedes essence into a feminist one: "One is not born but becomes a woman" (French: "On ne naît pas femme, on le devient"). With this famous phrase, Beauvoir first articulated what has come to be known as the sex-gender distinction, that is, the distinction between biological sex and the social and historical construction of gender and its attendant stereotypes. Beauvoir argues that "the fundamental source of women's oppression is its [femininity's] historical and social construction as the quintessential".
Beauvoir defines women as the "second sex" because women are defined in relation to men. She pointed out that Aristotle argued women are "female by virtue of a certain lack of qualities", while Thomas Aquinas referred to woman as "imperfect man" and the "incidental" being. She quotes "In itself, homosexuality is as limiting as heterosexuality: the ideal should be to be capable of loving a woman or a man; either, a human being, without feeling fear, restraint, or obligation."
Beauvoir asserted that women are as capable of choice as men, and thus can choose to elevate themselves, moving beyond the "immanence" to which they were previously resigned and reaching "transcendence", a position in which one takes responsibility for oneself and the world, where one chooses one's freedom.
Chapters of The Second Sex were originally published in Les Temps modernes, in June 1949. The second volume came a few months after the first in France. It was published soon after in America due to the quick translation by Howard Parshley, as prompted by Blanche Knopf, wife of publisher Alfred A. Knopf. Because Parshley had only a basic familiarity with the French language, and a minimal understanding of philosophy (he was a professor of biology at Smith College), much of Beauvoir's book was mistranslated or inappropriately cut, distorting her intended message. For years, Knopf prevented the introduction of a more accurate retranslation of Beauvoir's work, declining all proposals despite the efforts of existentialist scholars.
Only in 2009 was there a second translation, to mark the 60th anniversary of the original publication. Constance Borde and Sheila Malovany-Chevallier produced the first integral translation in 2010, reinstating a third of the original work.
In the chapter "Woman: Myth and Reality" of The Second Sex, Beauvoir argued that men had made women the "Other" in society by application of a false aura of "mystery" around them. She argued that men used this as an excuse not to understand women or their problems and not to help them, and that this stereotyping was always done in societies by the group higher in the hierarchy to the group lower in the hierarchy. She wrote that a similar kind of oppression by hierarchy also happened in other categories of identity, such as race, class, and religion, but she claimed that it was nowhere more true than with gender in which men stereotyped women and used it as an excuse to organize society into a patriarchy.
Despite her contributions to the feminist movement, especially the French women's liberation movement, and her beliefs in women's economic independence and equal education, Beauvoir was initially reluctant to call herself a feminist. However, after observing the resurgence of the feminist movement in the late 1960s and early 1970s, Beauvoir stated she no longer believed a socialist revolution to be enough to bring about women's liberation. She publicly declared herself a feminist in 1972 in an interview with Le Nouvel Observateur.
In 2018 the manuscript pages of Le Deuxième Sexe were published. At the time her adopted daughter, Sylvie Le Bon-Beauvoir, a philosophy professor, described her mother's writing process: Beauvoir wrote every page of her books longhand first and only after that would hire typists.
The Mandarins
Published in 1954, The Mandarins won her France's highest literary prize, the Prix Goncourt. The book is set after the end of World War II and follows the personal lives of philosophers and friends among Sartre's and Beauvoir's intimate circle, including her relationship with American writer Nelson Algren, to whom the book was dedicated.
Algren was outraged by the frank way Beauvoir described their sexual experiences in both The Mandarins and her autobiographies. Algren vented his outrage when reviewing American translations of Beauvoir's work. Much material bearing on this episode in Beauvoir's life, including her love letters to Algren, entered the public domain only after her death.
Les Inséparables
Beauvoir's early novel Les Inséparables, long suppressed, was published in French in 2020 and in two different English translations in 2021.<ref>Reviewed 23 Aug. 2021 by Merve Emre in The New Yorker" https://www.newyorker.com/magazine/2021/08/30/simone-de-beauvoirs-lost-novel-of-early-love</ref> Written in 1954, the book describes her first love, a classmate named Elisabeth Lacoin ("Zaza") who died before age 22, and had as a teenager a "passionate and tragic" relationship with Beauvoir and Merleau-Ponty, then teaching at the same school. Disapproved by Sartre, the novel was deemed "too intimate" to be published during Beauvoir's lifetime.
Later years
Beauvoir wrote popular travel diaries about time spent in the United States and China and published essays and fiction rigorously, especially throughout the 1950s and 1960s. She published several volumes of short stories, including The Woman Destroyed, which, like some of her other later work, deals with aging.
1980 saw the publication of When Things of the Spirit Come First, a set of short stories centred around and based upon women important to her earlier years. Though written long before the novel She Came to Stay, Beauvoir did not at the time consider the stories worth publishing, allowing some forty years to pass before doing so.
Sartre and Merleau-Ponty had a longstanding feud, which led Merleau-Ponty to leave Les Temps Modernes. Beauvoir sided with Sartre and ceased to associate with Merleau-Ponty. In Beauvoir's later years, she hosted the journal's editorial meetings in her flat and contributed more than Sartre, whom she often had to force to offer his opinions.
Beauvoir also wrote a four-volume autobiography, consisting of: Memoirs of a Dutiful Daughter; The Prime of Life; Force of Circumstance (sometimes published in two volumes in English translation: After the War and Hard Times); and All Said and Done. In 1964 Beauvoir published a novella-length autobiography, A Very Easy Death, covering the time she spent visiting her ageing mother, who was dying of cancer. The novella brings up questions of ethical concerns with truth-telling in doctor-patient relationships.
Her 1970 long essay La Vieillesse (The Coming of Age) is a rare instance of an intellectual meditation on the decline and solitude all humans experience if they do not die before about the age of 60.
In the 1970s Beauvoir became active in France's women's liberation movement. She wrote and signed the Manifesto of the 343 in 1971, a manifesto that included a list of famous women who claimed to have had an abortion, then illegal in France. Some argue most of the women had not had abortions, including Beauvoir. Signatories were diverse as Catherine Deneuve, Delphine Seyrig, and Beauvoir's sister Poupette. In 1974, abortion was legalised in France.
In a 1975 interview with Betty Friedan Beauvoir said "No woman should be authorized to stay at home and raise her children. Society should be totally different. Women should not have that choice, precisely because if there is such a choice, too many women will make that one."
In about 1976 Beauvoir and Sylvie Le Bon made a trip to New York City in the United States to visit Kate Millett on her farm.
In 1981 she wrote La Cérémonie Des Adieux (A Farewell to Sartre), a painful account of Sartre's last years. In the opening of Adieux, Beauvoir notes that it is the only major published work of hers which Sartre did not read before its publication.
She contributed the piece "Feminism – alive, well, and in constant danger" to the 1984 anthology Sisterhood Is Global: The International Women's Movement Anthology, edited by Robin Morgan.
After Sartre died in 1980, Beauvoir published his letters to her with edits to spare the feelings of people in their circle who were still living. After Beauvoir's death, Sartre's adopted daughter and literary heir Arlette Elkaïm would not let many of Sartre's letters be published in unedited form. Most of Sartre's letters available today have Beauvoir's edits, which include a few omissions but mostly the use of pseudonyms. Beauvoir's adopted daughter and literary heir Sylvie Le Bon, unlike Elkaïm, published Beauvoir's unedited letters to both Sartre and Algren.
Beauvoir died of pneumonia on 14 April 1986 in Paris, aged 78. She is buried next to Sartre at the Montparnasse Cemetery in Paris. She was honored as a figure at the forefront of the struggle for women's rights around the time of her passing.
Impact
Simone de Beauvoir's The Second Sex is considered a foundational work in the history of feminism. Beauvoir had denied being a feminist multiple times but ultimately admitted that she was one after the influential Second Sex became crucial in the world of feminism. The work has had a profound influence, opening the way for second wave feminism in the United States, Canada, Australia, and around the world. Despite the fact that Beauvoir has been quoted as saying "There is a certain unreasonable demand that I find a little stupid because it would enclose me, immobilize me completely in a sort of feminist concrete block." Her works on feminism have paved the way for all future feminists. Founders of the second wave read The Second Sex in translation, including Kate Millett, Shulamith Firestone, Juliet Mitchell, Ann Oakley and Germaine Greer. All acknowledged their profound debt to Beauvoir, including visiting her in France, consulting with her at crucial moments, and dedicating works to her. Betty Friedan, whose 1963 book The Feminine Mystique is often regarded as the opening salvo of second wave feminism in the United States, later said that reading The Second Sex in the early 1950s "led me to whatever original analysis of women's existence I have been able to contribute to the Women's movement and to its unique politics. I looked to Simone de Beauvoir for a philosophical and intellectual authority."
At one point in the early seventies, Beauvoir also aligned herself with the League for Woman's rights as a means to campaign and fight against sexism in the French society. Beauvoir's influence goes beyond just her impact on second wave founders, and extends to numerous aspects of feminism, including literary criticism, history, philosophy, theology, criticism of scientific discourse, and psychotherapy. When Beauvoir first became involved with the feminism movement, one of her first objectives was that of legalizing abortion.Donna Haraway wrote that, "despite important differences, all the modern feminist meanings of gender have roots in Simone de Beauvoir's claim that 'one is not born a woman [one becomes one]'". This "most famous feminist sentence ever written" is echoed in the title of Monique Wittig's 1981 essay One Is Not Born a Woman. Judith Butler took the concept a step further, arguing that Beauvoir's choice of the verb to become suggests that gender is a process, constantly being renewed in an ongoing interaction between the surrounding culture and individual choice.
Prizes
Prix Goncourt, 1954
Jerusalem Prize, 1975
Austrian State Prize for European Literature, 1978
Works
List of publications (non-exhaustive)
L'Invitée (1943) (English – She Came to Stay) [novel]
Pyrrhus et Cinéas (1944) [nonfiction]
Le Sang des autres (1945) (English – The Blood of Others) [novel]
Les Bouches inutiles (1945) (English - Who Shall Die?) [drama]
Tous les hommes sont mortels (1946) (English – All Men Are Mortal) [novel]
Pour une morale de l'ambiguïté (1947) (English – The Ethics of Ambiguity) [nonfiction]
"America Day by Day" (1948) (English – 1999 – Carol Cosman (Translator and Douglas Brinkley (Foreword) [nonfiction]
Le Deuxième Sexe (1949) (English – The Second Sex) [nonfiction]
L'Amérique au jour le jour (1954) (English – America Day by Day)
Les Mandarins (1954) (English – The Mandarins) [novel]
Must We Burn Sade? (1955)
The Long March (1957) [nonfiction]
Memoirs of a Dutiful Daughter (1958)
The Prime of Life (1960)
Force of Circumstance (1963)
A Very Easy Death (1964)
Les Belles Images (1966) [novel]
The Woman Destroyed (1967) [short stories]
The Coming of Age (1970) [nonfiction]
All Said and Done (1972)
Old Age (1972) [nonfiction]
When Things of the Spirit Come First (1979) [novel]
Adieux: A Farewell to Sartre (1981)
Letters to Sartre (1990)
Journal de guerre, Sept 1939 – Jan 1941 (1990); English – Wartime Diary (2009)
A Transatlantic Love Affair: Letters to Nelson Algren (1998)
Diary of a Philosophy Student, 1926–27 (2006)
Cahiers de jeunesse, 1926–1930 (2008)
Selected translations
Patrick O'Brian was Beauvoir's principal English translator, until he attained commercial success as a novelist.
Philosophical Writings (Urbana : University of Illinois Press, 2004, edited by Margaret A. Simons et al.) contains a selection of essays by Beauvoir translated for the first time into English. Among those are: Pyrrhus and Cineas, discussing the futility or utility of action, two previously unpublished chapters from her novel She Came to Stay and an introduction to Ethics of Ambiguity.
See also
Art Shay
Roman à clef
Simone Weil
List of women's rights activists
Place Jean-Paul-Sartre-et-Simone-de-Beauvoir
References
Sources
Appignanesi, Lisa, 2005, Simone de Beauvoir, London: Haus,
Bair, Deirdre, 1990. Simone de Beauvoir: A Biography. New York: Summit Books,
Rowley, Hazel, 2005. Tête-a-Tête: Simone de Beauvoir and Jean-Paul Sartre. New York: HarperCollins.
Suzanne Lilar, 1969. Le Malentendu du Deuxième Sexe (with collaboration of Prof. Dreyfus). Paris, University Presses of France (Presses Universitaires de France).
Fraser, M., 1999. Identity Without Selfhood: Simone de Beauvoir and Bisexuality, Cambridge and New York: Cambridge University Press.
Axel Madsen, Hearts and Minds: The Common Journey of Simone de Beauvoir and Jean-Paul Sartre, William Morrow & Co, 1977.
Hélène Rouch, 2001–2002, Trois conceptions du sexe: Simone de Beauvoir entre Adrienne Sahuqué et Suzanne Lilar, Simone de Beauvoir Studies, n° 18, pp. 49–60.
Simone de Beauvoir, Marguerite Yourcenar, Nathalie Sarraute, 2002. Conférence Élisabeth Badinter, Jacques Lassalle & Lucette Finas, .
Further reading
Le Malentendu du Deuxième Sexe by Suzanne Lilar, 1969.
Feminist Theory and Simone de Beauvoir by Toril Moi, 1990.
Appignanesi, Lisa. Simone de Beauvoir. London: Penguin. 1988. .
Bair, Deirdre. Simone de Beauvoir: A Biography. New York: Summit Books. 1990. .
Francis, Claude. Simone de Beauvoir: A Life, A Love Story. Lisa Nesselson (Translator). New York: St. Martin's, 1987. .
Okely, Judith. Simone de Beauvoir. New York: Pantheon. 1986. .
External links
Guardian Books "Author Page", with profile and links to further articles.
Victoria Brittain et al discuss Simone de Beauvoir's lasting influence, ICA 1989
"Simone de Beauvoir", Great Lives, BBC Radio 4, 22 April 2011
Kate Kirkpatrick. (6 November 2017) "What is authentic love? A View from Simone de Beauvoir" . IAI News''.
1908 births
1986 deaths
20th-century French non-fiction writers
20th-century French novelists
20th-century French philosophers
20th-century French women writers
Atheist feminists
Atheist philosophers
Bisexual feminists
Bisexual women
Bisexual writers
Burials at Montparnasse Cemetery
Communist women writers
Continental philosophers
Critical theorists
Cultural critics
Deaths from pneumonia in France
Epistemologists
Existentialists
Feminist philosophers
Feminist studies scholars
Feminist theorists
Former Roman Catholics
French abortion-rights activists
French anti-war activists
French atheists
French communists
French socialists
French ethicists
French feminist writers
French literary critics
Women literary critics
French Marxists
French political philosophers
French women non-fiction writers
French women novelists
French women philosophers
Jerusalem Prize recipients
Légion d'honneur refusals
LGBT memoirists
French LGBT novelists
Marxist feminists
French Marxist writers
Materialist feminists
Metaphysicians
Moral philosophers
Ontologists
Phenomenologists
Philosophers of art
Philosophers of culture
Philosophers of education
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Political philosophers
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French social commentators
Social critics
Social philosophers
French socialist feminists
University of Paris alumni
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Writers from Paris
20th-century French memoirists
French magazine founders
LGBT philosophers
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"Sunita Devi (born 1980) is an Indian mason honoured for building toilets. In her village 90% of the women did not have access to a toilet. After her work they all now have access. She was given the Nari Shakti Puraskar award in 2019 by the President of India.\n\nLife\nDevi was born in 1980. She graduated with a degree in political science. She was surprised to find that after she married in 2010 her new home did not have a working toilet. Her village, Udaypura, was 115 km from the state capital Ranchi. Neighbours in her village were in a similar situation but she was unable to raise this as a problem because of etiquette. Only 10% of the women had access to a toilet and the rest had to defaecate in the open.\n\nWhen others including the Swachh Bharat Mission-Gramin (SBM-G) arrived in her village in 2015 and started to talk about toilets. The mission wanted to create an Open defecation free community and they were offering a grant of 12,000 rupees for each toilet constructed by a rural family. \n\nDevi took an interest. She wanted to train to be a mason but her father-in-law objected because she was a woman. The job of being a mason was done by men, although many masons considered the task of creating toilets to small to be worthy of their attention. With her husband's support she persevered and became a \"Rani Mistris\" (woman mason). There was opposition and some asked to leave Udaypura when she tried to interest other women in the task. Devi was astounded that they objected to her building toilets, but they raised no objection to women defecating in the street.\n\nShe was given the Nari Shakti Puraskar award in 2019. The \"2018\" award was made in the Presidential Palace by the President of India on International Women's Day. A year later the President honoured another woman Kalavati Devi who had also trained as a mason to build toilets in Kanpur. At the award ceremony the Prime Minister singled out the work of the Swachh Bharat Mission which had inspired Devi to her work for particular praise.\n\nReferences \n\n1980 births\nLiving people\nIndian Freemasons",
"Ada Andy Napaltjarri (born c. 1954) is a Warlpiri– and Luritja–speaking Indigenous artist from Australia's Western Desert region. Ada was born near Haasts Bluff, Northern Territory, and has lived in several Northern Territory communities. She began painting in the early 1980s at Alice Springs and probably played a role in the development of interest in painting in the communities in which she has lived.\n\nLife\n\nAda Andy was born in 1954 at Narwietooma Station, near Haasts Bluff, Northern Territory, west of Alice Springs. 'Napaljarri' (in Warlpiri) or 'Napaltjarri' (in Western Desert dialects) is a skin name, one of sixteen used to denote the subsections or subgroups in the kinship system of central Australian Indigenous people. These names define kinship relationships that influence preferred marriage partners and may be associated with particular totems. Although they may be used as terms of address, they are not surnames in the sense used by Europeans. Thus 'Ada Andy' is the element of the artist's name that is specifically hers.\n\nHer mother is artist Entalura Nangala who painted for major Indigenous art company Papunya Tula. And her father is Old Andy (Walpa) Tjungarrayi who is from Karrinyarra Mount wedge station and spoke Warlpiri and Anmeterrye. Her mother Entalura's later traditionally married husband Don Tjungarrayi. Her father how ever did not marry but did still lived with Don and Intalura at Karrinyarra outstation until he's death in 2000.\n\nAda grew up at Haasts Bluff, and then lived at Kintore from around 1955 to around 1964. As of 1981, Ada was married to Alistair Burns, a school teacher from New Zealand, with whom she had lived in several different Northern Territory communities. She has three daughters – Maggie Burns, Laati Burns and Sharon Burns. Ada's sisters Nora Andy Napaltjarri(DEC), Emily Andy Napaltjarri and Sallene Andy Napaltjarri(DEC) are also artists. She Also has three brother Nigel Andy, Evans Andy(DEC) and Randell Andy(DEC).\n\nArt\n\nBackground\nContemporary Indigenous art of the western desert began when Indigenous men at Papunya began painting in 1971, assisted by teacher Geoffrey Bardon. Their work, which used acrylic paints to create designs representing body painting and ground sculptures, rapidly spread across Indigenous communities of central Australia, particularly following the commencement of a government-sanctioned art program in central Australia in 1983. By the 1980s and 1990s, such work was being exhibited internationally. The first artists, including all of the founders of the Papunya Tula artists' company, had been men, and there was resistance amongst the Pintupi men of central Australia to women painting. However, there was also a desire amongst many of the women to participate, and in the 1990s large numbers of them began to create paintings. In the western desert communities such as Kintore, Yuendumu, Balgo, and on the outstations, people were beginning to create art works expressly for exhibition and sale.\n\nCareer\nAda Andy began painting around 1981 or 1982 in Alice Springs. At a time when women first painted with the Papunya Tula company, Ada Andy was one of the first to choose to paint independently, although Birnberg and Kreczmanski record that she did paint for the company. She then lived and painted in communities where her husband was teaching, including Mount Allen, Lajamanu and Willowra, all in the Northern Territory. Vivien Johnson believed Ada may have been partly responsible for the development of interest in painting in those communities.\n\nWestern Desert artists such as Ada will frequently paint particular 'dreamings', or stories, for which they have personal responsibility or rights. Ada paints Warumpi Mother and Daughter dreaming, Women Dancing, Yalka (bush onion) dreaming, and stories associated with black plum, wurrampi (honey ant) and Ngapa (water).\n\nReferences\n\n1954 births\nLiving people\nAustralian Aboriginal artists\nArtists from the Northern Territory\n20th-century Australian women artists\n20th-century Australian painters\n21st-century Australian women artists\n21st-century Australian painters\nWarlpiri people"
] |
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What about her sexual life caused controversy?
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What about Simone de Beauvoir's sexual life caused controversy?
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Simone de Beauvoir
|
Beginning in 1929, de Beauvoir and Jean-Paul Sartre were partners for fifty-one years until his death in 1980. De Beauvoir chose never to marry or set up a joint household and she never had children. This gave her the time to advance her education and engage in political causes, to write and teach, and to have lovers. Perhaps her most famous lover was American author Nelson Algren whom she met in Chicago in 1947, and to whom she wrote across the Atlantic as "my beloved husband." Algren won the National Book Award for The Man with the Golden Arm. In 1950, and in 1954, de Beauvoir won France's most prestigious literary prize for The Mandarins in which Algren is the character Lewis Brogan. Algren vociferously objected to their intimacy becoming public. Years after they separated, she was buried wearing his gift of a silver ring. However, she lived with Claude Lanzmann from 1952 to 1959. De Beauvoir was bisexual and her relationships with young women were controversial. Former student Bianca Lamblin (originally Bianca Bienenfeld) wrote in her book Memoires d'une jeune fille derangee (English: Memoirs of a Disturbed Young Lady), that, while she was a student at Lycee Moliere, she had been sexually exploited by her teacher de Beauvoir, who was in her 30s at the time. In 1943, de Beauvoir was suspended from her teaching job, due to an accusation that she had seduced her 17-year-old lycee pupil Natalie Sorokine in 1939. Sorokine's parents laid formal charges against de Beauvoir for debauching a minor and as a result she had her license to teach in France permanently revoked. In 1977, de Beauvoir, Sartre, Roland Barthes, Michel Foucault, Jacques Derrida and much of the era's intelligensia signed a petition seeking to abrogate the age of consent in France. CANNOTANSWER
|
de Beauvoir was suspended from her teaching job, due to an accusation that she had seduced her 17-year-old lycee pupil Natalie Sorokine in 1939.
|
Simone Lucie Ernestine Marie Bertrand de Beauvoir (, ; ; 9 January 1908 – 14 April 1986) was a French existentialist philosopher, writer, social theorist and feminist activist. Though she did not consider herself a philosopher, and even though she was not considered one at the time of her death, she had a significant influence on both feminist existentialism and feminist theory.
Beauvoir wrote novels, essays, biographies, autobiographies and monographs on philosophy, politics, and social issues. She was known for her 1949 treatise The Second Sex, a detailed analysis of women's oppression and a foundational tract of contemporary feminism; and for her novels, including She Came to Stay and The Mandarins. Her most enduring contribution to literature is her memoirs, notably the first volume, "Mémoires d'une jeune fille rangée" (1958), which have a warmth and descriptive power. She won the 1954 Prix Goncourt, the 1975 Jerusalem Prize, and the 1978 Austrian State Prize for European Literature. She was also known for her open, lifelong relationship with French philosopher Jean-Paul Sartre.
Early years
Beauvoir was born on 9 January 1908 into a bourgeois Parisian family in the 6th arrondissement. Her parents were Georges Bertrand de Beauvoir, a lawyer, who once aspired to be an actor, and Françoise Beauvoir (née Brasseur), a wealthy banker's daughter and devout Catholic. Simone's sister, Hélène, was born two years later. The family struggled to maintain their bourgeois status after losing much of their fortune shortly after World War I, and Françoise insisted the two daughters be sent to a prestigious convent school.
Beauvoir was intellectually precocious, fueled by her father's encouragement; he reportedly would boast, "Simone thinks like a man!" Because of her family's straitened circumstances, she could no longer rely on her dowry, and like other middle-class girls of her age, her marriage opportunities were put at risk. She took this opportunity to take steps towards earning a living for herself.
She first worked with Maurice Merleau-Ponty and Claude Lévi-Strauss, when all three completed their practice teaching requirements at the same secondary school. Although not officially enrolled, she sat in on courses at the École Normale Supérieure in preparation for the agrégation in philosophy, a highly competitive postgraduate examination which serves as a national ranking of students. It was while studying for it that she met École Normale students Jean-Paul Sartre, Paul Nizan, and René Maheu (who gave her the lasting nickname "Castor", or "beaver"). The jury for the agrégation narrowly awarded Sartre first place instead of Beauvoir, who placed second and, at age 21, was the youngest person ever to pass the exam.
Writing of her youth in Memoirs of a Dutiful Daughter she said:
"...my father's individualism and pagan ethical standards were in complete contrast to the rigidly moral conventionalism of my mother's teaching. This disequilibrium, which made my life a kind of endless disputation, is the main reason why I became an intellectual."
Secondary and post-secondary education
Beauvoir pursued post-secondary education after completing her high school years at Lycée Fenelon. After passing baccalaureate exams in mathematics and philosophy in 1925, she studied mathematics at the Institut Catholique de Paris and literature/languages at the . She then studied philosophy at the Sorbonne and after completing her degree in 1928, wrote her (roughly equivalent to an M.A. thesis) on Leibniz for Léon Brunschvicg (the topic was "Le concept chez Leibniz" ["The Concept in Leibniz"]). Her studies of political philosophy through university influenced her to start thinking of societal concerns rather than her own individual issues.
Religious upbringing
Beauvoir was raised in a strict Catholic household. She had been sent to convent schools as a youth. She was deeply religious as a child, at one point intending to become a nun. At age 14, Beauvoir questioned her faith as she saw many changes in the world after witnessing tragedies throughout her life. She abandoned her faith in her early teens and remained an atheist for the rest of her life. Beauvoir quotes "Faith allows an evasion of those difficulties which the atheist confronts honestly. And to crown all, the believer derives a sense of great superiority from this very cowardice itself."
Middle years
From 1929 until 1943, Beauvoir taught at the lycée level until she could support herself solely on the earnings of her writings. She taught at the (Marseille), the , and the (1936–39).
Beauvoir and Jean-Paul Sartre met during her college years. Intrigued by her determination as an educator, he sought out to make their relationship romantic. However, she had no interest in doing so. During October 1929, Jean-Paul Sartre and Beauvoir became a couple and, after they were confronted by her father, Sartre asked her to marry him on a provisional basis: One day while they were sitting on a bench outside the Louvre, he said, "Let's sign a two-year lease". Though Beauvoir wrote, "Marriage was impossible. I had no dowry", scholars point out that her ideal relationships described in The Second Sex and elsewhere bore little resemblances to the marriage standards of the day. Instead, she and Sartre entered into a lifelong "soul partnership", which was sexual but not exclusive, nor did it involve living together.
Sartre and Beauvoir always read each other's work. Debate continues about the extent to which they influenced each other in their existentialist works, such as Sartre's Being and Nothingness and Beauvoir's She Came to Stay and "Phenomenology and Intent". However, recent studies of Beauvoir's work focus on influences other than Sartre, including Hegel and Leibniz. The Neo-Hegelian revival led by Alexandre Kojève and Jean Hyppolite in the 1930s inspired a whole generation of French thinkers, including Sartre, to discover Hegel's Phenomenology of Spirit. However, Beauvoir, reading Hegel in German during the war, produced an original critique of his dialectic of consciousness.
Personal life
Beauvoir's prominent open relationships at times overshadowed her substantial academic reputation. A scholar lecturing with her chastised their "distinguished [Harvard] audience [because] every question asked about Sartre concerned his work, while all those asked about Beauvoir concerned her personal life." Beginning in 1929, Beauvoir and Sartre were partners and remained so for 51 years, until his death in 1980. She chose never to marry and never had children. This gave her the time to advance her education and engage in political causes, write and teach, and take lovers. She lived with Claude Lanzmann from 1952 to 1959.
Perhaps her most famous lover was American author Nelson Algren, whom she met in Chicago in 1947, and to whom she wrote across the Atlantic as "my beloved husband." Algren won the National Book Award for The Man with the Golden Arm in 1950, and in 1954, Beauvoir won France's most prestigious literary prize for The Mandarins, in which Algren is the character Lewis Brogan. Algren vociferously objected to their intimacy becoming public. Years after they separated, she was buried wearing his gift of a silver ring.
Beauvoir was bisexual, and her relationships with young women were controversial. French author Bianca Lamblin (originally Bianca Bienenfeld) wrote in her book Mémoires d'une Jeune Fille Dérangée (published in English under the title A Disgraceful Affair) that, while a student at Lycée Molière, she was sexually exploited by her teacher Beauvoir, who was in her 30s. Lamblin had affairs with both Jean-Paul Sartre and Beauvoir. In 1943, Beauvoir was suspended from her teaching position when she was accused of seducing her 17-year-old lycée pupil Natalie Sorokine in 1939. Sorokine's parents laid formal charges against Beauvoir for debauching a minor (the age of consent in France at the time was 15), and Beauvoir's license to teach in France was revoked, although it was subsequently reinstated.
In 1977, Beauvoir, Sartre, Roland Barthes, Michel Foucault, Jacques Derrida and much of the era's intelligentsia signed a petition seeking to completely remove the age of consent in France.
Notable works
She Came to Stay
Beauvoir published her first novel She Came to Stay in 1943. It has been assumed that it is inspired by her and Sartre's sexual relationship with Olga Kosakiewicz and Wanda Kosakiewicz. Olga was one of her students in the Rouen secondary school where Beauvoir taught during the early 1930s. She grew fond of Olga. Sartre tried to pursue Olga but she rejected him, so he began a relationship with her sister Wanda. Upon his death, Sartre was still supporting Wanda. He also supported Olga for years, until she met and married Jacques-Laurent Bost, a lover of Beauvoir. However, the main thrust of the novel is philosophical, a scene in which to situate Beauvoir's abiding philosophical pre-occupation - the relationship between the self and the other.
In the novel, set just before the outbreak of World War II, Beauvoir creates one character from the complex relationships of Olga and Wanda. The fictionalised versions of Beauvoir and Sartre have a ménage à trois with the young woman. The novel also delves into Beauvoir and Sartre's complex relationship and how it was affected by the ménage à trois.
She Came to Stay was followed by many others, including The Blood of Others, which explores the nature of individual responsibility, telling a love story between two young French students participating in the Resistance in World War II.
Existentialist ethics
In 1944, Beauvoir wrote her first philosophical essay, Pyrrhus et Cinéas, a discussion on existentialist ethics. She continued her exploration of existentialism through her second essay The Ethics of Ambiguity (1947); it is perhaps the most accessible entry into French existentialism. In the essay, Beauvoir clears up some inconsistencies that many, Sartre included, have found in major existentialist works such as Being and Nothingness. In The Ethics of Ambiguity, Beauvoir confronts the existentialist dilemma of absolute freedom vs. the constraints of circumstance.
Les Temps modernes
At the end of World War II, Beauvoir and Sartre edited Les Temps modernes, a political journal which Sartre founded along with Maurice Merleau-Ponty and others. Beauvoir used Les Temps Modernes to promote her own work and explore her ideas on a small scale before fashioning essays and books. Beauvoir remained an editor until her death.
Sexuality, existentialist feminism and The Second Sex
The Second Sex, first published in 1949 in French as Le Deuxième Sexe, turns the existentialist mantra that existence precedes essence into a feminist one: "One is not born but becomes a woman" (French: "On ne naît pas femme, on le devient"). With this famous phrase, Beauvoir first articulated what has come to be known as the sex-gender distinction, that is, the distinction between biological sex and the social and historical construction of gender and its attendant stereotypes. Beauvoir argues that "the fundamental source of women's oppression is its [femininity's] historical and social construction as the quintessential".
Beauvoir defines women as the "second sex" because women are defined in relation to men. She pointed out that Aristotle argued women are "female by virtue of a certain lack of qualities", while Thomas Aquinas referred to woman as "imperfect man" and the "incidental" being. She quotes "In itself, homosexuality is as limiting as heterosexuality: the ideal should be to be capable of loving a woman or a man; either, a human being, without feeling fear, restraint, or obligation."
Beauvoir asserted that women are as capable of choice as men, and thus can choose to elevate themselves, moving beyond the "immanence" to which they were previously resigned and reaching "transcendence", a position in which one takes responsibility for oneself and the world, where one chooses one's freedom.
Chapters of The Second Sex were originally published in Les Temps modernes, in June 1949. The second volume came a few months after the first in France. It was published soon after in America due to the quick translation by Howard Parshley, as prompted by Blanche Knopf, wife of publisher Alfred A. Knopf. Because Parshley had only a basic familiarity with the French language, and a minimal understanding of philosophy (he was a professor of biology at Smith College), much of Beauvoir's book was mistranslated or inappropriately cut, distorting her intended message. For years, Knopf prevented the introduction of a more accurate retranslation of Beauvoir's work, declining all proposals despite the efforts of existentialist scholars.
Only in 2009 was there a second translation, to mark the 60th anniversary of the original publication. Constance Borde and Sheila Malovany-Chevallier produced the first integral translation in 2010, reinstating a third of the original work.
In the chapter "Woman: Myth and Reality" of The Second Sex, Beauvoir argued that men had made women the "Other" in society by application of a false aura of "mystery" around them. She argued that men used this as an excuse not to understand women or their problems and not to help them, and that this stereotyping was always done in societies by the group higher in the hierarchy to the group lower in the hierarchy. She wrote that a similar kind of oppression by hierarchy also happened in other categories of identity, such as race, class, and religion, but she claimed that it was nowhere more true than with gender in which men stereotyped women and used it as an excuse to organize society into a patriarchy.
Despite her contributions to the feminist movement, especially the French women's liberation movement, and her beliefs in women's economic independence and equal education, Beauvoir was initially reluctant to call herself a feminist. However, after observing the resurgence of the feminist movement in the late 1960s and early 1970s, Beauvoir stated she no longer believed a socialist revolution to be enough to bring about women's liberation. She publicly declared herself a feminist in 1972 in an interview with Le Nouvel Observateur.
In 2018 the manuscript pages of Le Deuxième Sexe were published. At the time her adopted daughter, Sylvie Le Bon-Beauvoir, a philosophy professor, described her mother's writing process: Beauvoir wrote every page of her books longhand first and only after that would hire typists.
The Mandarins
Published in 1954, The Mandarins won her France's highest literary prize, the Prix Goncourt. The book is set after the end of World War II and follows the personal lives of philosophers and friends among Sartre's and Beauvoir's intimate circle, including her relationship with American writer Nelson Algren, to whom the book was dedicated.
Algren was outraged by the frank way Beauvoir described their sexual experiences in both The Mandarins and her autobiographies. Algren vented his outrage when reviewing American translations of Beauvoir's work. Much material bearing on this episode in Beauvoir's life, including her love letters to Algren, entered the public domain only after her death.
Les Inséparables
Beauvoir's early novel Les Inséparables, long suppressed, was published in French in 2020 and in two different English translations in 2021.<ref>Reviewed 23 Aug. 2021 by Merve Emre in The New Yorker" https://www.newyorker.com/magazine/2021/08/30/simone-de-beauvoirs-lost-novel-of-early-love</ref> Written in 1954, the book describes her first love, a classmate named Elisabeth Lacoin ("Zaza") who died before age 22, and had as a teenager a "passionate and tragic" relationship with Beauvoir and Merleau-Ponty, then teaching at the same school. Disapproved by Sartre, the novel was deemed "too intimate" to be published during Beauvoir's lifetime.
Later years
Beauvoir wrote popular travel diaries about time spent in the United States and China and published essays and fiction rigorously, especially throughout the 1950s and 1960s. She published several volumes of short stories, including The Woman Destroyed, which, like some of her other later work, deals with aging.
1980 saw the publication of When Things of the Spirit Come First, a set of short stories centred around and based upon women important to her earlier years. Though written long before the novel She Came to Stay, Beauvoir did not at the time consider the stories worth publishing, allowing some forty years to pass before doing so.
Sartre and Merleau-Ponty had a longstanding feud, which led Merleau-Ponty to leave Les Temps Modernes. Beauvoir sided with Sartre and ceased to associate with Merleau-Ponty. In Beauvoir's later years, she hosted the journal's editorial meetings in her flat and contributed more than Sartre, whom she often had to force to offer his opinions.
Beauvoir also wrote a four-volume autobiography, consisting of: Memoirs of a Dutiful Daughter; The Prime of Life; Force of Circumstance (sometimes published in two volumes in English translation: After the War and Hard Times); and All Said and Done. In 1964 Beauvoir published a novella-length autobiography, A Very Easy Death, covering the time she spent visiting her ageing mother, who was dying of cancer. The novella brings up questions of ethical concerns with truth-telling in doctor-patient relationships.
Her 1970 long essay La Vieillesse (The Coming of Age) is a rare instance of an intellectual meditation on the decline and solitude all humans experience if they do not die before about the age of 60.
In the 1970s Beauvoir became active in France's women's liberation movement. She wrote and signed the Manifesto of the 343 in 1971, a manifesto that included a list of famous women who claimed to have had an abortion, then illegal in France. Some argue most of the women had not had abortions, including Beauvoir. Signatories were diverse as Catherine Deneuve, Delphine Seyrig, and Beauvoir's sister Poupette. In 1974, abortion was legalised in France.
In a 1975 interview with Betty Friedan Beauvoir said "No woman should be authorized to stay at home and raise her children. Society should be totally different. Women should not have that choice, precisely because if there is such a choice, too many women will make that one."
In about 1976 Beauvoir and Sylvie Le Bon made a trip to New York City in the United States to visit Kate Millett on her farm.
In 1981 she wrote La Cérémonie Des Adieux (A Farewell to Sartre), a painful account of Sartre's last years. In the opening of Adieux, Beauvoir notes that it is the only major published work of hers which Sartre did not read before its publication.
She contributed the piece "Feminism – alive, well, and in constant danger" to the 1984 anthology Sisterhood Is Global: The International Women's Movement Anthology, edited by Robin Morgan.
After Sartre died in 1980, Beauvoir published his letters to her with edits to spare the feelings of people in their circle who were still living. After Beauvoir's death, Sartre's adopted daughter and literary heir Arlette Elkaïm would not let many of Sartre's letters be published in unedited form. Most of Sartre's letters available today have Beauvoir's edits, which include a few omissions but mostly the use of pseudonyms. Beauvoir's adopted daughter and literary heir Sylvie Le Bon, unlike Elkaïm, published Beauvoir's unedited letters to both Sartre and Algren.
Beauvoir died of pneumonia on 14 April 1986 in Paris, aged 78. She is buried next to Sartre at the Montparnasse Cemetery in Paris. She was honored as a figure at the forefront of the struggle for women's rights around the time of her passing.
Impact
Simone de Beauvoir's The Second Sex is considered a foundational work in the history of feminism. Beauvoir had denied being a feminist multiple times but ultimately admitted that she was one after the influential Second Sex became crucial in the world of feminism. The work has had a profound influence, opening the way for second wave feminism in the United States, Canada, Australia, and around the world. Despite the fact that Beauvoir has been quoted as saying "There is a certain unreasonable demand that I find a little stupid because it would enclose me, immobilize me completely in a sort of feminist concrete block." Her works on feminism have paved the way for all future feminists. Founders of the second wave read The Second Sex in translation, including Kate Millett, Shulamith Firestone, Juliet Mitchell, Ann Oakley and Germaine Greer. All acknowledged their profound debt to Beauvoir, including visiting her in France, consulting with her at crucial moments, and dedicating works to her. Betty Friedan, whose 1963 book The Feminine Mystique is often regarded as the opening salvo of second wave feminism in the United States, later said that reading The Second Sex in the early 1950s "led me to whatever original analysis of women's existence I have been able to contribute to the Women's movement and to its unique politics. I looked to Simone de Beauvoir for a philosophical and intellectual authority."
At one point in the early seventies, Beauvoir also aligned herself with the League for Woman's rights as a means to campaign and fight against sexism in the French society. Beauvoir's influence goes beyond just her impact on second wave founders, and extends to numerous aspects of feminism, including literary criticism, history, philosophy, theology, criticism of scientific discourse, and psychotherapy. When Beauvoir first became involved with the feminism movement, one of her first objectives was that of legalizing abortion.Donna Haraway wrote that, "despite important differences, all the modern feminist meanings of gender have roots in Simone de Beauvoir's claim that 'one is not born a woman [one becomes one]'". This "most famous feminist sentence ever written" is echoed in the title of Monique Wittig's 1981 essay One Is Not Born a Woman. Judith Butler took the concept a step further, arguing that Beauvoir's choice of the verb to become suggests that gender is a process, constantly being renewed in an ongoing interaction between the surrounding culture and individual choice.
Prizes
Prix Goncourt, 1954
Jerusalem Prize, 1975
Austrian State Prize for European Literature, 1978
Works
List of publications (non-exhaustive)
L'Invitée (1943) (English – She Came to Stay) [novel]
Pyrrhus et Cinéas (1944) [nonfiction]
Le Sang des autres (1945) (English – The Blood of Others) [novel]
Les Bouches inutiles (1945) (English - Who Shall Die?) [drama]
Tous les hommes sont mortels (1946) (English – All Men Are Mortal) [novel]
Pour une morale de l'ambiguïté (1947) (English – The Ethics of Ambiguity) [nonfiction]
"America Day by Day" (1948) (English – 1999 – Carol Cosman (Translator and Douglas Brinkley (Foreword) [nonfiction]
Le Deuxième Sexe (1949) (English – The Second Sex) [nonfiction]
L'Amérique au jour le jour (1954) (English – America Day by Day)
Les Mandarins (1954) (English – The Mandarins) [novel]
Must We Burn Sade? (1955)
The Long March (1957) [nonfiction]
Memoirs of a Dutiful Daughter (1958)
The Prime of Life (1960)
Force of Circumstance (1963)
A Very Easy Death (1964)
Les Belles Images (1966) [novel]
The Woman Destroyed (1967) [short stories]
The Coming of Age (1970) [nonfiction]
All Said and Done (1972)
Old Age (1972) [nonfiction]
When Things of the Spirit Come First (1979) [novel]
Adieux: A Farewell to Sartre (1981)
Letters to Sartre (1990)
Journal de guerre, Sept 1939 – Jan 1941 (1990); English – Wartime Diary (2009)
A Transatlantic Love Affair: Letters to Nelson Algren (1998)
Diary of a Philosophy Student, 1926–27 (2006)
Cahiers de jeunesse, 1926–1930 (2008)
Selected translations
Patrick O'Brian was Beauvoir's principal English translator, until he attained commercial success as a novelist.
Philosophical Writings (Urbana : University of Illinois Press, 2004, edited by Margaret A. Simons et al.) contains a selection of essays by Beauvoir translated for the first time into English. Among those are: Pyrrhus and Cineas, discussing the futility or utility of action, two previously unpublished chapters from her novel She Came to Stay and an introduction to Ethics of Ambiguity.
See also
Art Shay
Roman à clef
Simone Weil
List of women's rights activists
Place Jean-Paul-Sartre-et-Simone-de-Beauvoir
References
Sources
Appignanesi, Lisa, 2005, Simone de Beauvoir, London: Haus,
Bair, Deirdre, 1990. Simone de Beauvoir: A Biography. New York: Summit Books,
Rowley, Hazel, 2005. Tête-a-Tête: Simone de Beauvoir and Jean-Paul Sartre. New York: HarperCollins.
Suzanne Lilar, 1969. Le Malentendu du Deuxième Sexe (with collaboration of Prof. Dreyfus). Paris, University Presses of France (Presses Universitaires de France).
Fraser, M., 1999. Identity Without Selfhood: Simone de Beauvoir and Bisexuality, Cambridge and New York: Cambridge University Press.
Axel Madsen, Hearts and Minds: The Common Journey of Simone de Beauvoir and Jean-Paul Sartre, William Morrow & Co, 1977.
Hélène Rouch, 2001–2002, Trois conceptions du sexe: Simone de Beauvoir entre Adrienne Sahuqué et Suzanne Lilar, Simone de Beauvoir Studies, n° 18, pp. 49–60.
Simone de Beauvoir, Marguerite Yourcenar, Nathalie Sarraute, 2002. Conférence Élisabeth Badinter, Jacques Lassalle & Lucette Finas, .
Further reading
Le Malentendu du Deuxième Sexe by Suzanne Lilar, 1969.
Feminist Theory and Simone de Beauvoir by Toril Moi, 1990.
Appignanesi, Lisa. Simone de Beauvoir. London: Penguin. 1988. .
Bair, Deirdre. Simone de Beauvoir: A Biography. New York: Summit Books. 1990. .
Francis, Claude. Simone de Beauvoir: A Life, A Love Story. Lisa Nesselson (Translator). New York: St. Martin's, 1987. .
Okely, Judith. Simone de Beauvoir. New York: Pantheon. 1986. .
External links
Guardian Books "Author Page", with profile and links to further articles.
Victoria Brittain et al discuss Simone de Beauvoir's lasting influence, ICA 1989
"Simone de Beauvoir", Great Lives, BBC Radio 4, 22 April 2011
Kate Kirkpatrick. (6 November 2017) "What is authentic love? A View from Simone de Beauvoir" . IAI News''.
1908 births
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20th-century French non-fiction writers
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Critical theorists
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Deaths from pneumonia in France
Epistemologists
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French feminist writers
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Women literary critics
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Social critics
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French magazine founders
LGBT philosophers
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[
"Confessions of a Video Vixen is a memoir written by Karrine Steffans which details the first 25 years of her life. Part tell-all covering her sexual liaisons with music industry personalities and professional athletes, and part cautionary tale about the dangers of the otherwise romanticized hip-hop music industry, it caused considerable controversy in some circles.\n\nSummary\nConfessions of a Video Vixen recounts Steffans' life from her troubled girlhood living in poverty in St. Thomas, through abuse, drugs, rape and living as a teenage runaway who turns to stripping and hip hop modeling to support herself and, later, her young son.\n\nOriginally published in 2005 by Amistad, an imprint of HarperCollins Publishers, the book was immediately a New York Times bestseller. (The 2006 paperback edition includes bonus material, and also made the NYT bestseller list.) The book created a stir when it went on sale because of Steffans' allegations of abuse at the hands of her then-husband rapper, Kool G Rap and her claims that she had sexual relationships with numerous famous music stars and athletes, including Jay-Z, Ja Rule, Bobby Brown, Dr. Dre, DMX, Xzibit, Diddy, Usher, Shaquille O'Neal and Irv Gotti.\n\nContents\n\nNo Shame in My Game\nThe Sins of the Mother\nFlower Off the Bloom\nThe Great Escape\nBreaking Away\nPain Is Love\nAround the Block\n\nReferences\n\nFurther reading\n \n\n2005 non-fiction books\nAfrican-American autobiographies\nHarperCollins books\nLiterature by African-American women",
"Child's Play is a 2009 novel by the British-Asian author Kia Abdullah.\n\nPlot \nA psychological crime thriller, Child's Play follows the story of 25-year-old Allegra Ashe who, after a chance encounter with an alluring stranger, is recruited into ‘Vokoban’, a covert government unit that uses a mysterious new law to chase and convict paedophiles. Allegra becomes deeply involved with the unit and so begins her descent into the darkness and depravity of the human mind. As her life spirals out of control, the reader becomes a voyeur in a world of lust, danger, deceit and revenge.\n\nThe plot explores certain controversial themes such as rape and paedophilia. Having faced a degree a controversy over her first novel, Life, Love and Assimilation, Abdullah is unsure how her second novel will be received: \"It's ultra violent and ultra sexual, and there are some morally ambiguous sex scenes in there, so I don't know how people will react to that,\" she says on her website.\n\nShe adds:\n\nIn 2011 the Telegraph commented that her two controversial novels, Life Love and Assimilation and Child’s Play drew condemnation from the British Bangladeshi community.\n\nReferences\n\nExternal links \nKia Abdullah's Official Site\n\n2009 novels\nNovels about child sexual abuse"
] |
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"Simone de Beauvoir",
"Personal life",
"Did she ever marry?",
"De Beauvoir chose never to marry or set up a joint household and she never had children.",
"did she ever have interest in men?",
"was bisexual and her relationships with young women were controversial.",
"What about her sexual life caused controversy?",
"de Beauvoir was suspended from her teaching job, due to an accusation that she had seduced her 17-year-old lycee pupil Natalie Sorokine in 1939."
] |
C_5ed7bcbf9b4d438faac7388fd5948edc_0
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Was she ever jailed due to it?
| 4 |
Was Simone de Beauvoir ever jailed due to be accused of seducing her 17-year-old pupil Natalie Sorokine?
|
Simone de Beauvoir
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Beginning in 1929, de Beauvoir and Jean-Paul Sartre were partners for fifty-one years until his death in 1980. De Beauvoir chose never to marry or set up a joint household and she never had children. This gave her the time to advance her education and engage in political causes, to write and teach, and to have lovers. Perhaps her most famous lover was American author Nelson Algren whom she met in Chicago in 1947, and to whom she wrote across the Atlantic as "my beloved husband." Algren won the National Book Award for The Man with the Golden Arm. In 1950, and in 1954, de Beauvoir won France's most prestigious literary prize for The Mandarins in which Algren is the character Lewis Brogan. Algren vociferously objected to their intimacy becoming public. Years after they separated, she was buried wearing his gift of a silver ring. However, she lived with Claude Lanzmann from 1952 to 1959. De Beauvoir was bisexual and her relationships with young women were controversial. Former student Bianca Lamblin (originally Bianca Bienenfeld) wrote in her book Memoires d'une jeune fille derangee (English: Memoirs of a Disturbed Young Lady), that, while she was a student at Lycee Moliere, she had been sexually exploited by her teacher de Beauvoir, who was in her 30s at the time. In 1943, de Beauvoir was suspended from her teaching job, due to an accusation that she had seduced her 17-year-old lycee pupil Natalie Sorokine in 1939. Sorokine's parents laid formal charges against de Beauvoir for debauching a minor and as a result she had her license to teach in France permanently revoked. In 1977, de Beauvoir, Sartre, Roland Barthes, Michel Foucault, Jacques Derrida and much of the era's intelligensia signed a petition seeking to abrogate the age of consent in France. CANNOTANSWER
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she had her license to teach in France permanently revoked.
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Simone Lucie Ernestine Marie Bertrand de Beauvoir (, ; ; 9 January 1908 – 14 April 1986) was a French existentialist philosopher, writer, social theorist and feminist activist. Though she did not consider herself a philosopher, and even though she was not considered one at the time of her death, she had a significant influence on both feminist existentialism and feminist theory.
Beauvoir wrote novels, essays, biographies, autobiographies and monographs on philosophy, politics, and social issues. She was known for her 1949 treatise The Second Sex, a detailed analysis of women's oppression and a foundational tract of contemporary feminism; and for her novels, including She Came to Stay and The Mandarins. Her most enduring contribution to literature is her memoirs, notably the first volume, "Mémoires d'une jeune fille rangée" (1958), which have a warmth and descriptive power. She won the 1954 Prix Goncourt, the 1975 Jerusalem Prize, and the 1978 Austrian State Prize for European Literature. She was also known for her open, lifelong relationship with French philosopher Jean-Paul Sartre.
Early years
Beauvoir was born on 9 January 1908 into a bourgeois Parisian family in the 6th arrondissement. Her parents were Georges Bertrand de Beauvoir, a lawyer, who once aspired to be an actor, and Françoise Beauvoir (née Brasseur), a wealthy banker's daughter and devout Catholic. Simone's sister, Hélène, was born two years later. The family struggled to maintain their bourgeois status after losing much of their fortune shortly after World War I, and Françoise insisted the two daughters be sent to a prestigious convent school.
Beauvoir was intellectually precocious, fueled by her father's encouragement; he reportedly would boast, "Simone thinks like a man!" Because of her family's straitened circumstances, she could no longer rely on her dowry, and like other middle-class girls of her age, her marriage opportunities were put at risk. She took this opportunity to take steps towards earning a living for herself.
She first worked with Maurice Merleau-Ponty and Claude Lévi-Strauss, when all three completed their practice teaching requirements at the same secondary school. Although not officially enrolled, she sat in on courses at the École Normale Supérieure in preparation for the agrégation in philosophy, a highly competitive postgraduate examination which serves as a national ranking of students. It was while studying for it that she met École Normale students Jean-Paul Sartre, Paul Nizan, and René Maheu (who gave her the lasting nickname "Castor", or "beaver"). The jury for the agrégation narrowly awarded Sartre first place instead of Beauvoir, who placed second and, at age 21, was the youngest person ever to pass the exam.
Writing of her youth in Memoirs of a Dutiful Daughter she said:
"...my father's individualism and pagan ethical standards were in complete contrast to the rigidly moral conventionalism of my mother's teaching. This disequilibrium, which made my life a kind of endless disputation, is the main reason why I became an intellectual."
Secondary and post-secondary education
Beauvoir pursued post-secondary education after completing her high school years at Lycée Fenelon. After passing baccalaureate exams in mathematics and philosophy in 1925, she studied mathematics at the Institut Catholique de Paris and literature/languages at the . She then studied philosophy at the Sorbonne and after completing her degree in 1928, wrote her (roughly equivalent to an M.A. thesis) on Leibniz for Léon Brunschvicg (the topic was "Le concept chez Leibniz" ["The Concept in Leibniz"]). Her studies of political philosophy through university influenced her to start thinking of societal concerns rather than her own individual issues.
Religious upbringing
Beauvoir was raised in a strict Catholic household. She had been sent to convent schools as a youth. She was deeply religious as a child, at one point intending to become a nun. At age 14, Beauvoir questioned her faith as she saw many changes in the world after witnessing tragedies throughout her life. She abandoned her faith in her early teens and remained an atheist for the rest of her life. Beauvoir quotes "Faith allows an evasion of those difficulties which the atheist confronts honestly. And to crown all, the believer derives a sense of great superiority from this very cowardice itself."
Middle years
From 1929 until 1943, Beauvoir taught at the lycée level until she could support herself solely on the earnings of her writings. She taught at the (Marseille), the , and the (1936–39).
Beauvoir and Jean-Paul Sartre met during her college years. Intrigued by her determination as an educator, he sought out to make their relationship romantic. However, she had no interest in doing so. During October 1929, Jean-Paul Sartre and Beauvoir became a couple and, after they were confronted by her father, Sartre asked her to marry him on a provisional basis: One day while they were sitting on a bench outside the Louvre, he said, "Let's sign a two-year lease". Though Beauvoir wrote, "Marriage was impossible. I had no dowry", scholars point out that her ideal relationships described in The Second Sex and elsewhere bore little resemblances to the marriage standards of the day. Instead, she and Sartre entered into a lifelong "soul partnership", which was sexual but not exclusive, nor did it involve living together.
Sartre and Beauvoir always read each other's work. Debate continues about the extent to which they influenced each other in their existentialist works, such as Sartre's Being and Nothingness and Beauvoir's She Came to Stay and "Phenomenology and Intent". However, recent studies of Beauvoir's work focus on influences other than Sartre, including Hegel and Leibniz. The Neo-Hegelian revival led by Alexandre Kojève and Jean Hyppolite in the 1930s inspired a whole generation of French thinkers, including Sartre, to discover Hegel's Phenomenology of Spirit. However, Beauvoir, reading Hegel in German during the war, produced an original critique of his dialectic of consciousness.
Personal life
Beauvoir's prominent open relationships at times overshadowed her substantial academic reputation. A scholar lecturing with her chastised their "distinguished [Harvard] audience [because] every question asked about Sartre concerned his work, while all those asked about Beauvoir concerned her personal life." Beginning in 1929, Beauvoir and Sartre were partners and remained so for 51 years, until his death in 1980. She chose never to marry and never had children. This gave her the time to advance her education and engage in political causes, write and teach, and take lovers. She lived with Claude Lanzmann from 1952 to 1959.
Perhaps her most famous lover was American author Nelson Algren, whom she met in Chicago in 1947, and to whom she wrote across the Atlantic as "my beloved husband." Algren won the National Book Award for The Man with the Golden Arm in 1950, and in 1954, Beauvoir won France's most prestigious literary prize for The Mandarins, in which Algren is the character Lewis Brogan. Algren vociferously objected to their intimacy becoming public. Years after they separated, she was buried wearing his gift of a silver ring.
Beauvoir was bisexual, and her relationships with young women were controversial. French author Bianca Lamblin (originally Bianca Bienenfeld) wrote in her book Mémoires d'une Jeune Fille Dérangée (published in English under the title A Disgraceful Affair) that, while a student at Lycée Molière, she was sexually exploited by her teacher Beauvoir, who was in her 30s. Lamblin had affairs with both Jean-Paul Sartre and Beauvoir. In 1943, Beauvoir was suspended from her teaching position when she was accused of seducing her 17-year-old lycée pupil Natalie Sorokine in 1939. Sorokine's parents laid formal charges against Beauvoir for debauching a minor (the age of consent in France at the time was 15), and Beauvoir's license to teach in France was revoked, although it was subsequently reinstated.
In 1977, Beauvoir, Sartre, Roland Barthes, Michel Foucault, Jacques Derrida and much of the era's intelligentsia signed a petition seeking to completely remove the age of consent in France.
Notable works
She Came to Stay
Beauvoir published her first novel She Came to Stay in 1943. It has been assumed that it is inspired by her and Sartre's sexual relationship with Olga Kosakiewicz and Wanda Kosakiewicz. Olga was one of her students in the Rouen secondary school where Beauvoir taught during the early 1930s. She grew fond of Olga. Sartre tried to pursue Olga but she rejected him, so he began a relationship with her sister Wanda. Upon his death, Sartre was still supporting Wanda. He also supported Olga for years, until she met and married Jacques-Laurent Bost, a lover of Beauvoir. However, the main thrust of the novel is philosophical, a scene in which to situate Beauvoir's abiding philosophical pre-occupation - the relationship between the self and the other.
In the novel, set just before the outbreak of World War II, Beauvoir creates one character from the complex relationships of Olga and Wanda. The fictionalised versions of Beauvoir and Sartre have a ménage à trois with the young woman. The novel also delves into Beauvoir and Sartre's complex relationship and how it was affected by the ménage à trois.
She Came to Stay was followed by many others, including The Blood of Others, which explores the nature of individual responsibility, telling a love story between two young French students participating in the Resistance in World War II.
Existentialist ethics
In 1944, Beauvoir wrote her first philosophical essay, Pyrrhus et Cinéas, a discussion on existentialist ethics. She continued her exploration of existentialism through her second essay The Ethics of Ambiguity (1947); it is perhaps the most accessible entry into French existentialism. In the essay, Beauvoir clears up some inconsistencies that many, Sartre included, have found in major existentialist works such as Being and Nothingness. In The Ethics of Ambiguity, Beauvoir confronts the existentialist dilemma of absolute freedom vs. the constraints of circumstance.
Les Temps modernes
At the end of World War II, Beauvoir and Sartre edited Les Temps modernes, a political journal which Sartre founded along with Maurice Merleau-Ponty and others. Beauvoir used Les Temps Modernes to promote her own work and explore her ideas on a small scale before fashioning essays and books. Beauvoir remained an editor until her death.
Sexuality, existentialist feminism and The Second Sex
The Second Sex, first published in 1949 in French as Le Deuxième Sexe, turns the existentialist mantra that existence precedes essence into a feminist one: "One is not born but becomes a woman" (French: "On ne naît pas femme, on le devient"). With this famous phrase, Beauvoir first articulated what has come to be known as the sex-gender distinction, that is, the distinction between biological sex and the social and historical construction of gender and its attendant stereotypes. Beauvoir argues that "the fundamental source of women's oppression is its [femininity's] historical and social construction as the quintessential".
Beauvoir defines women as the "second sex" because women are defined in relation to men. She pointed out that Aristotle argued women are "female by virtue of a certain lack of qualities", while Thomas Aquinas referred to woman as "imperfect man" and the "incidental" being. She quotes "In itself, homosexuality is as limiting as heterosexuality: the ideal should be to be capable of loving a woman or a man; either, a human being, without feeling fear, restraint, or obligation."
Beauvoir asserted that women are as capable of choice as men, and thus can choose to elevate themselves, moving beyond the "immanence" to which they were previously resigned and reaching "transcendence", a position in which one takes responsibility for oneself and the world, where one chooses one's freedom.
Chapters of The Second Sex were originally published in Les Temps modernes, in June 1949. The second volume came a few months after the first in France. It was published soon after in America due to the quick translation by Howard Parshley, as prompted by Blanche Knopf, wife of publisher Alfred A. Knopf. Because Parshley had only a basic familiarity with the French language, and a minimal understanding of philosophy (he was a professor of biology at Smith College), much of Beauvoir's book was mistranslated or inappropriately cut, distorting her intended message. For years, Knopf prevented the introduction of a more accurate retranslation of Beauvoir's work, declining all proposals despite the efforts of existentialist scholars.
Only in 2009 was there a second translation, to mark the 60th anniversary of the original publication. Constance Borde and Sheila Malovany-Chevallier produced the first integral translation in 2010, reinstating a third of the original work.
In the chapter "Woman: Myth and Reality" of The Second Sex, Beauvoir argued that men had made women the "Other" in society by application of a false aura of "mystery" around them. She argued that men used this as an excuse not to understand women or their problems and not to help them, and that this stereotyping was always done in societies by the group higher in the hierarchy to the group lower in the hierarchy. She wrote that a similar kind of oppression by hierarchy also happened in other categories of identity, such as race, class, and religion, but she claimed that it was nowhere more true than with gender in which men stereotyped women and used it as an excuse to organize society into a patriarchy.
Despite her contributions to the feminist movement, especially the French women's liberation movement, and her beliefs in women's economic independence and equal education, Beauvoir was initially reluctant to call herself a feminist. However, after observing the resurgence of the feminist movement in the late 1960s and early 1970s, Beauvoir stated she no longer believed a socialist revolution to be enough to bring about women's liberation. She publicly declared herself a feminist in 1972 in an interview with Le Nouvel Observateur.
In 2018 the manuscript pages of Le Deuxième Sexe were published. At the time her adopted daughter, Sylvie Le Bon-Beauvoir, a philosophy professor, described her mother's writing process: Beauvoir wrote every page of her books longhand first and only after that would hire typists.
The Mandarins
Published in 1954, The Mandarins won her France's highest literary prize, the Prix Goncourt. The book is set after the end of World War II and follows the personal lives of philosophers and friends among Sartre's and Beauvoir's intimate circle, including her relationship with American writer Nelson Algren, to whom the book was dedicated.
Algren was outraged by the frank way Beauvoir described their sexual experiences in both The Mandarins and her autobiographies. Algren vented his outrage when reviewing American translations of Beauvoir's work. Much material bearing on this episode in Beauvoir's life, including her love letters to Algren, entered the public domain only after her death.
Les Inséparables
Beauvoir's early novel Les Inséparables, long suppressed, was published in French in 2020 and in two different English translations in 2021.<ref>Reviewed 23 Aug. 2021 by Merve Emre in The New Yorker" https://www.newyorker.com/magazine/2021/08/30/simone-de-beauvoirs-lost-novel-of-early-love</ref> Written in 1954, the book describes her first love, a classmate named Elisabeth Lacoin ("Zaza") who died before age 22, and had as a teenager a "passionate and tragic" relationship with Beauvoir and Merleau-Ponty, then teaching at the same school. Disapproved by Sartre, the novel was deemed "too intimate" to be published during Beauvoir's lifetime.
Later years
Beauvoir wrote popular travel diaries about time spent in the United States and China and published essays and fiction rigorously, especially throughout the 1950s and 1960s. She published several volumes of short stories, including The Woman Destroyed, which, like some of her other later work, deals with aging.
1980 saw the publication of When Things of the Spirit Come First, a set of short stories centred around and based upon women important to her earlier years. Though written long before the novel She Came to Stay, Beauvoir did not at the time consider the stories worth publishing, allowing some forty years to pass before doing so.
Sartre and Merleau-Ponty had a longstanding feud, which led Merleau-Ponty to leave Les Temps Modernes. Beauvoir sided with Sartre and ceased to associate with Merleau-Ponty. In Beauvoir's later years, she hosted the journal's editorial meetings in her flat and contributed more than Sartre, whom she often had to force to offer his opinions.
Beauvoir also wrote a four-volume autobiography, consisting of: Memoirs of a Dutiful Daughter; The Prime of Life; Force of Circumstance (sometimes published in two volumes in English translation: After the War and Hard Times); and All Said and Done. In 1964 Beauvoir published a novella-length autobiography, A Very Easy Death, covering the time she spent visiting her ageing mother, who was dying of cancer. The novella brings up questions of ethical concerns with truth-telling in doctor-patient relationships.
Her 1970 long essay La Vieillesse (The Coming of Age) is a rare instance of an intellectual meditation on the decline and solitude all humans experience if they do not die before about the age of 60.
In the 1970s Beauvoir became active in France's women's liberation movement. She wrote and signed the Manifesto of the 343 in 1971, a manifesto that included a list of famous women who claimed to have had an abortion, then illegal in France. Some argue most of the women had not had abortions, including Beauvoir. Signatories were diverse as Catherine Deneuve, Delphine Seyrig, and Beauvoir's sister Poupette. In 1974, abortion was legalised in France.
In a 1975 interview with Betty Friedan Beauvoir said "No woman should be authorized to stay at home and raise her children. Society should be totally different. Women should not have that choice, precisely because if there is such a choice, too many women will make that one."
In about 1976 Beauvoir and Sylvie Le Bon made a trip to New York City in the United States to visit Kate Millett on her farm.
In 1981 she wrote La Cérémonie Des Adieux (A Farewell to Sartre), a painful account of Sartre's last years. In the opening of Adieux, Beauvoir notes that it is the only major published work of hers which Sartre did not read before its publication.
She contributed the piece "Feminism – alive, well, and in constant danger" to the 1984 anthology Sisterhood Is Global: The International Women's Movement Anthology, edited by Robin Morgan.
After Sartre died in 1980, Beauvoir published his letters to her with edits to spare the feelings of people in their circle who were still living. After Beauvoir's death, Sartre's adopted daughter and literary heir Arlette Elkaïm would not let many of Sartre's letters be published in unedited form. Most of Sartre's letters available today have Beauvoir's edits, which include a few omissions but mostly the use of pseudonyms. Beauvoir's adopted daughter and literary heir Sylvie Le Bon, unlike Elkaïm, published Beauvoir's unedited letters to both Sartre and Algren.
Beauvoir died of pneumonia on 14 April 1986 in Paris, aged 78. She is buried next to Sartre at the Montparnasse Cemetery in Paris. She was honored as a figure at the forefront of the struggle for women's rights around the time of her passing.
Impact
Simone de Beauvoir's The Second Sex is considered a foundational work in the history of feminism. Beauvoir had denied being a feminist multiple times but ultimately admitted that she was one after the influential Second Sex became crucial in the world of feminism. The work has had a profound influence, opening the way for second wave feminism in the United States, Canada, Australia, and around the world. Despite the fact that Beauvoir has been quoted as saying "There is a certain unreasonable demand that I find a little stupid because it would enclose me, immobilize me completely in a sort of feminist concrete block." Her works on feminism have paved the way for all future feminists. Founders of the second wave read The Second Sex in translation, including Kate Millett, Shulamith Firestone, Juliet Mitchell, Ann Oakley and Germaine Greer. All acknowledged their profound debt to Beauvoir, including visiting her in France, consulting with her at crucial moments, and dedicating works to her. Betty Friedan, whose 1963 book The Feminine Mystique is often regarded as the opening salvo of second wave feminism in the United States, later said that reading The Second Sex in the early 1950s "led me to whatever original analysis of women's existence I have been able to contribute to the Women's movement and to its unique politics. I looked to Simone de Beauvoir for a philosophical and intellectual authority."
At one point in the early seventies, Beauvoir also aligned herself with the League for Woman's rights as a means to campaign and fight against sexism in the French society. Beauvoir's influence goes beyond just her impact on second wave founders, and extends to numerous aspects of feminism, including literary criticism, history, philosophy, theology, criticism of scientific discourse, and psychotherapy. When Beauvoir first became involved with the feminism movement, one of her first objectives was that of legalizing abortion.Donna Haraway wrote that, "despite important differences, all the modern feminist meanings of gender have roots in Simone de Beauvoir's claim that 'one is not born a woman [one becomes one]'". This "most famous feminist sentence ever written" is echoed in the title of Monique Wittig's 1981 essay One Is Not Born a Woman. Judith Butler took the concept a step further, arguing that Beauvoir's choice of the verb to become suggests that gender is a process, constantly being renewed in an ongoing interaction between the surrounding culture and individual choice.
Prizes
Prix Goncourt, 1954
Jerusalem Prize, 1975
Austrian State Prize for European Literature, 1978
Works
List of publications (non-exhaustive)
L'Invitée (1943) (English – She Came to Stay) [novel]
Pyrrhus et Cinéas (1944) [nonfiction]
Le Sang des autres (1945) (English – The Blood of Others) [novel]
Les Bouches inutiles (1945) (English - Who Shall Die?) [drama]
Tous les hommes sont mortels (1946) (English – All Men Are Mortal) [novel]
Pour une morale de l'ambiguïté (1947) (English – The Ethics of Ambiguity) [nonfiction]
"America Day by Day" (1948) (English – 1999 – Carol Cosman (Translator and Douglas Brinkley (Foreword) [nonfiction]
Le Deuxième Sexe (1949) (English – The Second Sex) [nonfiction]
L'Amérique au jour le jour (1954) (English – America Day by Day)
Les Mandarins (1954) (English – The Mandarins) [novel]
Must We Burn Sade? (1955)
The Long March (1957) [nonfiction]
Memoirs of a Dutiful Daughter (1958)
The Prime of Life (1960)
Force of Circumstance (1963)
A Very Easy Death (1964)
Les Belles Images (1966) [novel]
The Woman Destroyed (1967) [short stories]
The Coming of Age (1970) [nonfiction]
All Said and Done (1972)
Old Age (1972) [nonfiction]
When Things of the Spirit Come First (1979) [novel]
Adieux: A Farewell to Sartre (1981)
Letters to Sartre (1990)
Journal de guerre, Sept 1939 – Jan 1941 (1990); English – Wartime Diary (2009)
A Transatlantic Love Affair: Letters to Nelson Algren (1998)
Diary of a Philosophy Student, 1926–27 (2006)
Cahiers de jeunesse, 1926–1930 (2008)
Selected translations
Patrick O'Brian was Beauvoir's principal English translator, until he attained commercial success as a novelist.
Philosophical Writings (Urbana : University of Illinois Press, 2004, edited by Margaret A. Simons et al.) contains a selection of essays by Beauvoir translated for the first time into English. Among those are: Pyrrhus and Cineas, discussing the futility or utility of action, two previously unpublished chapters from her novel She Came to Stay and an introduction to Ethics of Ambiguity.
See also
Art Shay
Roman à clef
Simone Weil
List of women's rights activists
Place Jean-Paul-Sartre-et-Simone-de-Beauvoir
References
Sources
Appignanesi, Lisa, 2005, Simone de Beauvoir, London: Haus,
Bair, Deirdre, 1990. Simone de Beauvoir: A Biography. New York: Summit Books,
Rowley, Hazel, 2005. Tête-a-Tête: Simone de Beauvoir and Jean-Paul Sartre. New York: HarperCollins.
Suzanne Lilar, 1969. Le Malentendu du Deuxième Sexe (with collaboration of Prof. Dreyfus). Paris, University Presses of France (Presses Universitaires de France).
Fraser, M., 1999. Identity Without Selfhood: Simone de Beauvoir and Bisexuality, Cambridge and New York: Cambridge University Press.
Axel Madsen, Hearts and Minds: The Common Journey of Simone de Beauvoir and Jean-Paul Sartre, William Morrow & Co, 1977.
Hélène Rouch, 2001–2002, Trois conceptions du sexe: Simone de Beauvoir entre Adrienne Sahuqué et Suzanne Lilar, Simone de Beauvoir Studies, n° 18, pp. 49–60.
Simone de Beauvoir, Marguerite Yourcenar, Nathalie Sarraute, 2002. Conférence Élisabeth Badinter, Jacques Lassalle & Lucette Finas, .
Further reading
Le Malentendu du Deuxième Sexe by Suzanne Lilar, 1969.
Feminist Theory and Simone de Beauvoir by Toril Moi, 1990.
Appignanesi, Lisa. Simone de Beauvoir. London: Penguin. 1988. .
Bair, Deirdre. Simone de Beauvoir: A Biography. New York: Summit Books. 1990. .
Francis, Claude. Simone de Beauvoir: A Life, A Love Story. Lisa Nesselson (Translator). New York: St. Martin's, 1987. .
Okely, Judith. Simone de Beauvoir. New York: Pantheon. 1986. .
External links
Guardian Books "Author Page", with profile and links to further articles.
Victoria Brittain et al discuss Simone de Beauvoir's lasting influence, ICA 1989
"Simone de Beauvoir", Great Lives, BBC Radio 4, 22 April 2011
Kate Kirkpatrick. (6 November 2017) "What is authentic love? A View from Simone de Beauvoir" . IAI News''.
1908 births
1986 deaths
20th-century French non-fiction writers
20th-century French novelists
20th-century French philosophers
20th-century French women writers
Atheist feminists
Atheist philosophers
Bisexual feminists
Bisexual women
Bisexual writers
Burials at Montparnasse Cemetery
Communist women writers
Continental philosophers
Critical theorists
Cultural critics
Deaths from pneumonia in France
Epistemologists
Existentialists
Feminist philosophers
Feminist studies scholars
Feminist theorists
Former Roman Catholics
French abortion-rights activists
French anti-war activists
French atheists
French communists
French socialists
French ethicists
French feminist writers
French literary critics
Women literary critics
French Marxists
French political philosophers
French women non-fiction writers
French women novelists
French women philosophers
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Légion d'honneur refusals
LGBT memoirists
French LGBT novelists
Marxist feminists
French Marxist writers
Materialist feminists
Metaphysicians
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Ontologists
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French social commentators
Social critics
Social philosophers
French socialist feminists
University of Paris alumni
French women memoirists
Writers from Paris
20th-century French memoirists
French magazine founders
LGBT philosophers
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"Aviole Paul-Blanc, also known as Madame Ulrick Paul-Blanc, was a Haitian politician. She and Madame Max Adolphe were elected to Parliament in 1961, becoming the first female parliamentarians in Haiti.\n\nBiography\nPaul-Blanc was a candidate of National Unity Party in the first constituency of Hinche in the 1961 parliamentary elections. With the PUN being the only party to contest the election, she was returned unopposed to Parliament, becoming one of the first two female MPs alongside Madame Max Adolphe.\n\nIn 1975 she was arrested and jailed after a shipment of illegal arms in her name was uncovered. Her husband was also jailed and died in prison in July 1976. She was released in December 1976 as part of a Christmas amnesty.\n\nReferences\n\nHaitian women in politics\nNational Unity Party (Haiti) politicians\nMembers of the Haitian Parliament\nYear of death unknown\nYear of birth unknown",
"Kim Eun-kyung (; born 9 June 1956) is a South Korean politician who served as President Moon Jae-in's first Minister of Environment. She was later jailed for two years and sixth months for abuse of power during her term as environment minister.\n\nCareer\nKim was previously widely known to the public as \"Ms. Phenol\" due to her activism as a citizen representative during 1991 Nakdong River phenol contamination incident.\n\nShe first started public service in 1995 when she was elected as Nowon District Council member. On 1998, she was elected as a Seoul Metropolitan Council member. After losing her re-election in 2002, she joined then-candidate Roh Moo-hyun's presidential campaign as his special advisor on environment. She continued working with Roh at his transition team and Blue House until the end of his presidency in 2006.\n\nKim served as the environment minister from July 2017 to November 2018. In January 2018, the Environment Ministry created a blacklist of 24 public servants associated with the previous Park Geun-hye administration. Kim pressured 15 executives of state-run companies to step down and be replaced by loyalists to the Moon administration. 13 of 24 individuals on the list resigned due to government pressure.\n\nOn February 9, 2021, the Seoul Central District Court sentenced Kim Eun-kyung to 2 years and six months of prison for the environment ministry blacklist case. The court also ordered her to be immediately jailed to prevent the possible destruction of evidence.\n\nEducation\nShe holds three degrees - a bachelor and doctorate in management from Korea University and a master's in urban administration from University of Seoul.\n\nAwards \n Order of Service Merit by the government of South Korea (2005)\n\nReferences \n\nLiving people\n1956 births\nSouth Korean politicians convicted of crimes\nKorea University alumni\nUniversity of Seoul alumni\nPeople from Seoul\nGovernment ministers of South Korea\nWomen government ministers of South Korea\nEnvironment ministers"
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C_5ed7bcbf9b4d438faac7388fd5948edc_0
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did she have a dedicated partner at all?
| 5 |
Did Simone de Beauvoir have a dedicated partner at all?
|
Simone de Beauvoir
|
Beginning in 1929, de Beauvoir and Jean-Paul Sartre were partners for fifty-one years until his death in 1980. De Beauvoir chose never to marry or set up a joint household and she never had children. This gave her the time to advance her education and engage in political causes, to write and teach, and to have lovers. Perhaps her most famous lover was American author Nelson Algren whom she met in Chicago in 1947, and to whom she wrote across the Atlantic as "my beloved husband." Algren won the National Book Award for The Man with the Golden Arm. In 1950, and in 1954, de Beauvoir won France's most prestigious literary prize for The Mandarins in which Algren is the character Lewis Brogan. Algren vociferously objected to their intimacy becoming public. Years after they separated, she was buried wearing his gift of a silver ring. However, she lived with Claude Lanzmann from 1952 to 1959. De Beauvoir was bisexual and her relationships with young women were controversial. Former student Bianca Lamblin (originally Bianca Bienenfeld) wrote in her book Memoires d'une jeune fille derangee (English: Memoirs of a Disturbed Young Lady), that, while she was a student at Lycee Moliere, she had been sexually exploited by her teacher de Beauvoir, who was in her 30s at the time. In 1943, de Beauvoir was suspended from her teaching job, due to an accusation that she had seduced her 17-year-old lycee pupil Natalie Sorokine in 1939. Sorokine's parents laid formal charges against de Beauvoir for debauching a minor and as a result she had her license to teach in France permanently revoked. In 1977, de Beauvoir, Sartre, Roland Barthes, Michel Foucault, Jacques Derrida and much of the era's intelligensia signed a petition seeking to abrogate the age of consent in France. CANNOTANSWER
|
her most famous lover was American author Nelson Algren whom she met in Chicago in 1947, and to whom she wrote across the Atlantic as "my beloved husband."
|
Simone Lucie Ernestine Marie Bertrand de Beauvoir (, ; ; 9 January 1908 – 14 April 1986) was a French existentialist philosopher, writer, social theorist and feminist activist. Though she did not consider herself a philosopher, and even though she was not considered one at the time of her death, she had a significant influence on both feminist existentialism and feminist theory.
Beauvoir wrote novels, essays, biographies, autobiographies and monographs on philosophy, politics, and social issues. She was known for her 1949 treatise The Second Sex, a detailed analysis of women's oppression and a foundational tract of contemporary feminism; and for her novels, including She Came to Stay and The Mandarins. Her most enduring contribution to literature is her memoirs, notably the first volume, "Mémoires d'une jeune fille rangée" (1958), which have a warmth and descriptive power. She won the 1954 Prix Goncourt, the 1975 Jerusalem Prize, and the 1978 Austrian State Prize for European Literature. She was also known for her open, lifelong relationship with French philosopher Jean-Paul Sartre.
Early years
Beauvoir was born on 9 January 1908 into a bourgeois Parisian family in the 6th arrondissement. Her parents were Georges Bertrand de Beauvoir, a lawyer, who once aspired to be an actor, and Françoise Beauvoir (née Brasseur), a wealthy banker's daughter and devout Catholic. Simone's sister, Hélène, was born two years later. The family struggled to maintain their bourgeois status after losing much of their fortune shortly after World War I, and Françoise insisted the two daughters be sent to a prestigious convent school.
Beauvoir was intellectually precocious, fueled by her father's encouragement; he reportedly would boast, "Simone thinks like a man!" Because of her family's straitened circumstances, she could no longer rely on her dowry, and like other middle-class girls of her age, her marriage opportunities were put at risk. She took this opportunity to take steps towards earning a living for herself.
She first worked with Maurice Merleau-Ponty and Claude Lévi-Strauss, when all three completed their practice teaching requirements at the same secondary school. Although not officially enrolled, she sat in on courses at the École Normale Supérieure in preparation for the agrégation in philosophy, a highly competitive postgraduate examination which serves as a national ranking of students. It was while studying for it that she met École Normale students Jean-Paul Sartre, Paul Nizan, and René Maheu (who gave her the lasting nickname "Castor", or "beaver"). The jury for the agrégation narrowly awarded Sartre first place instead of Beauvoir, who placed second and, at age 21, was the youngest person ever to pass the exam.
Writing of her youth in Memoirs of a Dutiful Daughter she said:
"...my father's individualism and pagan ethical standards were in complete contrast to the rigidly moral conventionalism of my mother's teaching. This disequilibrium, which made my life a kind of endless disputation, is the main reason why I became an intellectual."
Secondary and post-secondary education
Beauvoir pursued post-secondary education after completing her high school years at Lycée Fenelon. After passing baccalaureate exams in mathematics and philosophy in 1925, she studied mathematics at the Institut Catholique de Paris and literature/languages at the . She then studied philosophy at the Sorbonne and after completing her degree in 1928, wrote her (roughly equivalent to an M.A. thesis) on Leibniz for Léon Brunschvicg (the topic was "Le concept chez Leibniz" ["The Concept in Leibniz"]). Her studies of political philosophy through university influenced her to start thinking of societal concerns rather than her own individual issues.
Religious upbringing
Beauvoir was raised in a strict Catholic household. She had been sent to convent schools as a youth. She was deeply religious as a child, at one point intending to become a nun. At age 14, Beauvoir questioned her faith as she saw many changes in the world after witnessing tragedies throughout her life. She abandoned her faith in her early teens and remained an atheist for the rest of her life. Beauvoir quotes "Faith allows an evasion of those difficulties which the atheist confronts honestly. And to crown all, the believer derives a sense of great superiority from this very cowardice itself."
Middle years
From 1929 until 1943, Beauvoir taught at the lycée level until she could support herself solely on the earnings of her writings. She taught at the (Marseille), the , and the (1936–39).
Beauvoir and Jean-Paul Sartre met during her college years. Intrigued by her determination as an educator, he sought out to make their relationship romantic. However, she had no interest in doing so. During October 1929, Jean-Paul Sartre and Beauvoir became a couple and, after they were confronted by her father, Sartre asked her to marry him on a provisional basis: One day while they were sitting on a bench outside the Louvre, he said, "Let's sign a two-year lease". Though Beauvoir wrote, "Marriage was impossible. I had no dowry", scholars point out that her ideal relationships described in The Second Sex and elsewhere bore little resemblances to the marriage standards of the day. Instead, she and Sartre entered into a lifelong "soul partnership", which was sexual but not exclusive, nor did it involve living together.
Sartre and Beauvoir always read each other's work. Debate continues about the extent to which they influenced each other in their existentialist works, such as Sartre's Being and Nothingness and Beauvoir's She Came to Stay and "Phenomenology and Intent". However, recent studies of Beauvoir's work focus on influences other than Sartre, including Hegel and Leibniz. The Neo-Hegelian revival led by Alexandre Kojève and Jean Hyppolite in the 1930s inspired a whole generation of French thinkers, including Sartre, to discover Hegel's Phenomenology of Spirit. However, Beauvoir, reading Hegel in German during the war, produced an original critique of his dialectic of consciousness.
Personal life
Beauvoir's prominent open relationships at times overshadowed her substantial academic reputation. A scholar lecturing with her chastised their "distinguished [Harvard] audience [because] every question asked about Sartre concerned his work, while all those asked about Beauvoir concerned her personal life." Beginning in 1929, Beauvoir and Sartre were partners and remained so for 51 years, until his death in 1980. She chose never to marry and never had children. This gave her the time to advance her education and engage in political causes, write and teach, and take lovers. She lived with Claude Lanzmann from 1952 to 1959.
Perhaps her most famous lover was American author Nelson Algren, whom she met in Chicago in 1947, and to whom she wrote across the Atlantic as "my beloved husband." Algren won the National Book Award for The Man with the Golden Arm in 1950, and in 1954, Beauvoir won France's most prestigious literary prize for The Mandarins, in which Algren is the character Lewis Brogan. Algren vociferously objected to their intimacy becoming public. Years after they separated, she was buried wearing his gift of a silver ring.
Beauvoir was bisexual, and her relationships with young women were controversial. French author Bianca Lamblin (originally Bianca Bienenfeld) wrote in her book Mémoires d'une Jeune Fille Dérangée (published in English under the title A Disgraceful Affair) that, while a student at Lycée Molière, she was sexually exploited by her teacher Beauvoir, who was in her 30s. Lamblin had affairs with both Jean-Paul Sartre and Beauvoir. In 1943, Beauvoir was suspended from her teaching position when she was accused of seducing her 17-year-old lycée pupil Natalie Sorokine in 1939. Sorokine's parents laid formal charges against Beauvoir for debauching a minor (the age of consent in France at the time was 15), and Beauvoir's license to teach in France was revoked, although it was subsequently reinstated.
In 1977, Beauvoir, Sartre, Roland Barthes, Michel Foucault, Jacques Derrida and much of the era's intelligentsia signed a petition seeking to completely remove the age of consent in France.
Notable works
She Came to Stay
Beauvoir published her first novel She Came to Stay in 1943. It has been assumed that it is inspired by her and Sartre's sexual relationship with Olga Kosakiewicz and Wanda Kosakiewicz. Olga was one of her students in the Rouen secondary school where Beauvoir taught during the early 1930s. She grew fond of Olga. Sartre tried to pursue Olga but she rejected him, so he began a relationship with her sister Wanda. Upon his death, Sartre was still supporting Wanda. He also supported Olga for years, until she met and married Jacques-Laurent Bost, a lover of Beauvoir. However, the main thrust of the novel is philosophical, a scene in which to situate Beauvoir's abiding philosophical pre-occupation - the relationship between the self and the other.
In the novel, set just before the outbreak of World War II, Beauvoir creates one character from the complex relationships of Olga and Wanda. The fictionalised versions of Beauvoir and Sartre have a ménage à trois with the young woman. The novel also delves into Beauvoir and Sartre's complex relationship and how it was affected by the ménage à trois.
She Came to Stay was followed by many others, including The Blood of Others, which explores the nature of individual responsibility, telling a love story between two young French students participating in the Resistance in World War II.
Existentialist ethics
In 1944, Beauvoir wrote her first philosophical essay, Pyrrhus et Cinéas, a discussion on existentialist ethics. She continued her exploration of existentialism through her second essay The Ethics of Ambiguity (1947); it is perhaps the most accessible entry into French existentialism. In the essay, Beauvoir clears up some inconsistencies that many, Sartre included, have found in major existentialist works such as Being and Nothingness. In The Ethics of Ambiguity, Beauvoir confronts the existentialist dilemma of absolute freedom vs. the constraints of circumstance.
Les Temps modernes
At the end of World War II, Beauvoir and Sartre edited Les Temps modernes, a political journal which Sartre founded along with Maurice Merleau-Ponty and others. Beauvoir used Les Temps Modernes to promote her own work and explore her ideas on a small scale before fashioning essays and books. Beauvoir remained an editor until her death.
Sexuality, existentialist feminism and The Second Sex
The Second Sex, first published in 1949 in French as Le Deuxième Sexe, turns the existentialist mantra that existence precedes essence into a feminist one: "One is not born but becomes a woman" (French: "On ne naît pas femme, on le devient"). With this famous phrase, Beauvoir first articulated what has come to be known as the sex-gender distinction, that is, the distinction between biological sex and the social and historical construction of gender and its attendant stereotypes. Beauvoir argues that "the fundamental source of women's oppression is its [femininity's] historical and social construction as the quintessential".
Beauvoir defines women as the "second sex" because women are defined in relation to men. She pointed out that Aristotle argued women are "female by virtue of a certain lack of qualities", while Thomas Aquinas referred to woman as "imperfect man" and the "incidental" being. She quotes "In itself, homosexuality is as limiting as heterosexuality: the ideal should be to be capable of loving a woman or a man; either, a human being, without feeling fear, restraint, or obligation."
Beauvoir asserted that women are as capable of choice as men, and thus can choose to elevate themselves, moving beyond the "immanence" to which they were previously resigned and reaching "transcendence", a position in which one takes responsibility for oneself and the world, where one chooses one's freedom.
Chapters of The Second Sex were originally published in Les Temps modernes, in June 1949. The second volume came a few months after the first in France. It was published soon after in America due to the quick translation by Howard Parshley, as prompted by Blanche Knopf, wife of publisher Alfred A. Knopf. Because Parshley had only a basic familiarity with the French language, and a minimal understanding of philosophy (he was a professor of biology at Smith College), much of Beauvoir's book was mistranslated or inappropriately cut, distorting her intended message. For years, Knopf prevented the introduction of a more accurate retranslation of Beauvoir's work, declining all proposals despite the efforts of existentialist scholars.
Only in 2009 was there a second translation, to mark the 60th anniversary of the original publication. Constance Borde and Sheila Malovany-Chevallier produced the first integral translation in 2010, reinstating a third of the original work.
In the chapter "Woman: Myth and Reality" of The Second Sex, Beauvoir argued that men had made women the "Other" in society by application of a false aura of "mystery" around them. She argued that men used this as an excuse not to understand women or their problems and not to help them, and that this stereotyping was always done in societies by the group higher in the hierarchy to the group lower in the hierarchy. She wrote that a similar kind of oppression by hierarchy also happened in other categories of identity, such as race, class, and religion, but she claimed that it was nowhere more true than with gender in which men stereotyped women and used it as an excuse to organize society into a patriarchy.
Despite her contributions to the feminist movement, especially the French women's liberation movement, and her beliefs in women's economic independence and equal education, Beauvoir was initially reluctant to call herself a feminist. However, after observing the resurgence of the feminist movement in the late 1960s and early 1970s, Beauvoir stated she no longer believed a socialist revolution to be enough to bring about women's liberation. She publicly declared herself a feminist in 1972 in an interview with Le Nouvel Observateur.
In 2018 the manuscript pages of Le Deuxième Sexe were published. At the time her adopted daughter, Sylvie Le Bon-Beauvoir, a philosophy professor, described her mother's writing process: Beauvoir wrote every page of her books longhand first and only after that would hire typists.
The Mandarins
Published in 1954, The Mandarins won her France's highest literary prize, the Prix Goncourt. The book is set after the end of World War II and follows the personal lives of philosophers and friends among Sartre's and Beauvoir's intimate circle, including her relationship with American writer Nelson Algren, to whom the book was dedicated.
Algren was outraged by the frank way Beauvoir described their sexual experiences in both The Mandarins and her autobiographies. Algren vented his outrage when reviewing American translations of Beauvoir's work. Much material bearing on this episode in Beauvoir's life, including her love letters to Algren, entered the public domain only after her death.
Les Inséparables
Beauvoir's early novel Les Inséparables, long suppressed, was published in French in 2020 and in two different English translations in 2021.<ref>Reviewed 23 Aug. 2021 by Merve Emre in The New Yorker" https://www.newyorker.com/magazine/2021/08/30/simone-de-beauvoirs-lost-novel-of-early-love</ref> Written in 1954, the book describes her first love, a classmate named Elisabeth Lacoin ("Zaza") who died before age 22, and had as a teenager a "passionate and tragic" relationship with Beauvoir and Merleau-Ponty, then teaching at the same school. Disapproved by Sartre, the novel was deemed "too intimate" to be published during Beauvoir's lifetime.
Later years
Beauvoir wrote popular travel diaries about time spent in the United States and China and published essays and fiction rigorously, especially throughout the 1950s and 1960s. She published several volumes of short stories, including The Woman Destroyed, which, like some of her other later work, deals with aging.
1980 saw the publication of When Things of the Spirit Come First, a set of short stories centred around and based upon women important to her earlier years. Though written long before the novel She Came to Stay, Beauvoir did not at the time consider the stories worth publishing, allowing some forty years to pass before doing so.
Sartre and Merleau-Ponty had a longstanding feud, which led Merleau-Ponty to leave Les Temps Modernes. Beauvoir sided with Sartre and ceased to associate with Merleau-Ponty. In Beauvoir's later years, she hosted the journal's editorial meetings in her flat and contributed more than Sartre, whom she often had to force to offer his opinions.
Beauvoir also wrote a four-volume autobiography, consisting of: Memoirs of a Dutiful Daughter; The Prime of Life; Force of Circumstance (sometimes published in two volumes in English translation: After the War and Hard Times); and All Said and Done. In 1964 Beauvoir published a novella-length autobiography, A Very Easy Death, covering the time she spent visiting her ageing mother, who was dying of cancer. The novella brings up questions of ethical concerns with truth-telling in doctor-patient relationships.
Her 1970 long essay La Vieillesse (The Coming of Age) is a rare instance of an intellectual meditation on the decline and solitude all humans experience if they do not die before about the age of 60.
In the 1970s Beauvoir became active in France's women's liberation movement. She wrote and signed the Manifesto of the 343 in 1971, a manifesto that included a list of famous women who claimed to have had an abortion, then illegal in France. Some argue most of the women had not had abortions, including Beauvoir. Signatories were diverse as Catherine Deneuve, Delphine Seyrig, and Beauvoir's sister Poupette. In 1974, abortion was legalised in France.
In a 1975 interview with Betty Friedan Beauvoir said "No woman should be authorized to stay at home and raise her children. Society should be totally different. Women should not have that choice, precisely because if there is such a choice, too many women will make that one."
In about 1976 Beauvoir and Sylvie Le Bon made a trip to New York City in the United States to visit Kate Millett on her farm.
In 1981 she wrote La Cérémonie Des Adieux (A Farewell to Sartre), a painful account of Sartre's last years. In the opening of Adieux, Beauvoir notes that it is the only major published work of hers which Sartre did not read before its publication.
She contributed the piece "Feminism – alive, well, and in constant danger" to the 1984 anthology Sisterhood Is Global: The International Women's Movement Anthology, edited by Robin Morgan.
After Sartre died in 1980, Beauvoir published his letters to her with edits to spare the feelings of people in their circle who were still living. After Beauvoir's death, Sartre's adopted daughter and literary heir Arlette Elkaïm would not let many of Sartre's letters be published in unedited form. Most of Sartre's letters available today have Beauvoir's edits, which include a few omissions but mostly the use of pseudonyms. Beauvoir's adopted daughter and literary heir Sylvie Le Bon, unlike Elkaïm, published Beauvoir's unedited letters to both Sartre and Algren.
Beauvoir died of pneumonia on 14 April 1986 in Paris, aged 78. She is buried next to Sartre at the Montparnasse Cemetery in Paris. She was honored as a figure at the forefront of the struggle for women's rights around the time of her passing.
Impact
Simone de Beauvoir's The Second Sex is considered a foundational work in the history of feminism. Beauvoir had denied being a feminist multiple times but ultimately admitted that she was one after the influential Second Sex became crucial in the world of feminism. The work has had a profound influence, opening the way for second wave feminism in the United States, Canada, Australia, and around the world. Despite the fact that Beauvoir has been quoted as saying "There is a certain unreasonable demand that I find a little stupid because it would enclose me, immobilize me completely in a sort of feminist concrete block." Her works on feminism have paved the way for all future feminists. Founders of the second wave read The Second Sex in translation, including Kate Millett, Shulamith Firestone, Juliet Mitchell, Ann Oakley and Germaine Greer. All acknowledged their profound debt to Beauvoir, including visiting her in France, consulting with her at crucial moments, and dedicating works to her. Betty Friedan, whose 1963 book The Feminine Mystique is often regarded as the opening salvo of second wave feminism in the United States, later said that reading The Second Sex in the early 1950s "led me to whatever original analysis of women's existence I have been able to contribute to the Women's movement and to its unique politics. I looked to Simone de Beauvoir for a philosophical and intellectual authority."
At one point in the early seventies, Beauvoir also aligned herself with the League for Woman's rights as a means to campaign and fight against sexism in the French society. Beauvoir's influence goes beyond just her impact on second wave founders, and extends to numerous aspects of feminism, including literary criticism, history, philosophy, theology, criticism of scientific discourse, and psychotherapy. When Beauvoir first became involved with the feminism movement, one of her first objectives was that of legalizing abortion.Donna Haraway wrote that, "despite important differences, all the modern feminist meanings of gender have roots in Simone de Beauvoir's claim that 'one is not born a woman [one becomes one]'". This "most famous feminist sentence ever written" is echoed in the title of Monique Wittig's 1981 essay One Is Not Born a Woman. Judith Butler took the concept a step further, arguing that Beauvoir's choice of the verb to become suggests that gender is a process, constantly being renewed in an ongoing interaction between the surrounding culture and individual choice.
Prizes
Prix Goncourt, 1954
Jerusalem Prize, 1975
Austrian State Prize for European Literature, 1978
Works
List of publications (non-exhaustive)
L'Invitée (1943) (English – She Came to Stay) [novel]
Pyrrhus et Cinéas (1944) [nonfiction]
Le Sang des autres (1945) (English – The Blood of Others) [novel]
Les Bouches inutiles (1945) (English - Who Shall Die?) [drama]
Tous les hommes sont mortels (1946) (English – All Men Are Mortal) [novel]
Pour une morale de l'ambiguïté (1947) (English – The Ethics of Ambiguity) [nonfiction]
"America Day by Day" (1948) (English – 1999 – Carol Cosman (Translator and Douglas Brinkley (Foreword) [nonfiction]
Le Deuxième Sexe (1949) (English – The Second Sex) [nonfiction]
L'Amérique au jour le jour (1954) (English – America Day by Day)
Les Mandarins (1954) (English – The Mandarins) [novel]
Must We Burn Sade? (1955)
The Long March (1957) [nonfiction]
Memoirs of a Dutiful Daughter (1958)
The Prime of Life (1960)
Force of Circumstance (1963)
A Very Easy Death (1964)
Les Belles Images (1966) [novel]
The Woman Destroyed (1967) [short stories]
The Coming of Age (1970) [nonfiction]
All Said and Done (1972)
Old Age (1972) [nonfiction]
When Things of the Spirit Come First (1979) [novel]
Adieux: A Farewell to Sartre (1981)
Letters to Sartre (1990)
Journal de guerre, Sept 1939 – Jan 1941 (1990); English – Wartime Diary (2009)
A Transatlantic Love Affair: Letters to Nelson Algren (1998)
Diary of a Philosophy Student, 1926–27 (2006)
Cahiers de jeunesse, 1926–1930 (2008)
Selected translations
Patrick O'Brian was Beauvoir's principal English translator, until he attained commercial success as a novelist.
Philosophical Writings (Urbana : University of Illinois Press, 2004, edited by Margaret A. Simons et al.) contains a selection of essays by Beauvoir translated for the first time into English. Among those are: Pyrrhus and Cineas, discussing the futility or utility of action, two previously unpublished chapters from her novel She Came to Stay and an introduction to Ethics of Ambiguity.
See also
Art Shay
Roman à clef
Simone Weil
List of women's rights activists
Place Jean-Paul-Sartre-et-Simone-de-Beauvoir
References
Sources
Appignanesi, Lisa, 2005, Simone de Beauvoir, London: Haus,
Bair, Deirdre, 1990. Simone de Beauvoir: A Biography. New York: Summit Books,
Rowley, Hazel, 2005. Tête-a-Tête: Simone de Beauvoir and Jean-Paul Sartre. New York: HarperCollins.
Suzanne Lilar, 1969. Le Malentendu du Deuxième Sexe (with collaboration of Prof. Dreyfus). Paris, University Presses of France (Presses Universitaires de France).
Fraser, M., 1999. Identity Without Selfhood: Simone de Beauvoir and Bisexuality, Cambridge and New York: Cambridge University Press.
Axel Madsen, Hearts and Minds: The Common Journey of Simone de Beauvoir and Jean-Paul Sartre, William Morrow & Co, 1977.
Hélène Rouch, 2001–2002, Trois conceptions du sexe: Simone de Beauvoir entre Adrienne Sahuqué et Suzanne Lilar, Simone de Beauvoir Studies, n° 18, pp. 49–60.
Simone de Beauvoir, Marguerite Yourcenar, Nathalie Sarraute, 2002. Conférence Élisabeth Badinter, Jacques Lassalle & Lucette Finas, .
Further reading
Le Malentendu du Deuxième Sexe by Suzanne Lilar, 1969.
Feminist Theory and Simone de Beauvoir by Toril Moi, 1990.
Appignanesi, Lisa. Simone de Beauvoir. London: Penguin. 1988. .
Bair, Deirdre. Simone de Beauvoir: A Biography. New York: Summit Books. 1990. .
Francis, Claude. Simone de Beauvoir: A Life, A Love Story. Lisa Nesselson (Translator). New York: St. Martin's, 1987. .
Okely, Judith. Simone de Beauvoir. New York: Pantheon. 1986. .
External links
Guardian Books "Author Page", with profile and links to further articles.
Victoria Brittain et al discuss Simone de Beauvoir's lasting influence, ICA 1989
"Simone de Beauvoir", Great Lives, BBC Radio 4, 22 April 2011
Kate Kirkpatrick. (6 November 2017) "What is authentic love? A View from Simone de Beauvoir" . IAI News''.
1908 births
1986 deaths
20th-century French non-fiction writers
20th-century French novelists
20th-century French philosophers
20th-century French women writers
Atheist feminists
Atheist philosophers
Bisexual feminists
Bisexual women
Bisexual writers
Burials at Montparnasse Cemetery
Communist women writers
Continental philosophers
Critical theorists
Cultural critics
Deaths from pneumonia in France
Epistemologists
Existentialists
Feminist philosophers
Feminist studies scholars
Feminist theorists
Former Roman Catholics
French abortion-rights activists
French anti-war activists
French atheists
French communists
French socialists
French ethicists
French feminist writers
French literary critics
Women literary critics
French Marxists
French political philosophers
French women non-fiction writers
French women novelists
French women philosophers
Jerusalem Prize recipients
Légion d'honneur refusals
LGBT memoirists
French LGBT novelists
Marxist feminists
French Marxist writers
Materialist feminists
Metaphysicians
Moral philosophers
Ontologists
Phenomenologists
Philosophers of art
Philosophers of culture
Philosophers of education
Philosophers of ethics and morality
Philosophers of literature
Philosophers of nihilism
Philosophers of sexuality
Political philosophers
Prix Goncourt winners
French social commentators
Social critics
Social philosophers
French socialist feminists
University of Paris alumni
French women memoirists
Writers from Paris
20th-century French memoirists
French magazine founders
LGBT philosophers
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"Queenie Mary Allen (December 1911 — 2 August 2007), later Queenie Webber, was an English badminton player from the 1930s into 1950s. She won the women's doubles title at the All England Open Badminton Championships in 1949 with Betty Uber. She also won international competitions in Denmark, Scotland, South Africa, Ireland, and France.\n\nCareer\nAllen competed in the 1934 All England Badminton Championships. At the 1948 South African Badminton Championships, Allen won in the women's doubles category, with her partner Betty Uber. In 1947, 1948, and 1949, she won the women's singles category at the Irish Open; she also won the women's doubles category at the Irish Open in 1947 and 1949 with Betty Uber, and the mixed doubles category in 1949 with Harold Marsland. She won the women's singles category at the Scottish Open in 1948, 1949, and 1950; she also won the women's doubles category at the Scottish Open with Betty Uber in 1948, 1949, 1950, 1951, and 1953. At the French Open, she won the mixed doubles title with Malaysian player Eddy Choong in 1951 and 1952, and the ladies doubles title with Audrey Stone in 1951.\n\nAt the 1949 All England Badminton Championships, Allen won in the women's doubles category, with her partner Betty Uber, and finished as a runnerup in the mixed doubles category, with her partner T. Wynn Rogers. At the 1951 All England Badminton Championships, Queenie Webber (using her married name) finished as a runnerup in the women's doubles category, with her partner Mavis Henderson.\n\nShe played in the first badminton games broadcast on television in the United Kingdom, and her colleague recalled, \"We had been told that white did not televise well, so that we must all wear colours no matter what they were. Queenie wore a blue skirt and yellow shirt, and I wore a black skirt and red-and-white shirt.\"\n\nSinging\nQueenie Allen-Webber was also a contralto singer. She performed in concert at Wigmore Hall in 1955.\n\nPersonal life\nQueenie Allen married F. G. Webber. She died at a rest home in Sussex in 2007, aged 95 years.\n\nCareer wins\n\nReferences\n\nEnglish female badminton players\nAll England Open Badminton Championships\n1911 births\n2007 deaths",
"Louise Bawden (born 7 August 1981) is an Australian volleyball and beach volleyball player. She represented Australia at the 2000 Summer Olympics in indoor volleyball, finishing in 9th. She was selected to represent Australia at the 2012 Summer Olympics in beach volley, but she and team-mate Becchara Palmer did not qualify from the pool stage.\n\nPersonal\nBawden was born in Melbourne, Victoria and attended Fintona Girls' School. She spent her childhood in Melbourne, moving to Canberra when she was sixteen. She then moved to the Netherlands after the Sydney Olympics, returning to Australia in 2003. In 2008, she completed a degree at a university in Queensland. She attended the 2008 Summer Olympics as a fan. , she lives in Adelaide.\n\nBawden is tall and weighs .\n\nIndoor volleyball\nBawden earned a volleyball scholarship at the Australian Institute of Sport when she was sixteen years old. As a nineteen-year-old, she represented Australia at the 2000 Summer Olympics in indoor volleyball, where her team finished ninth. Following the Sydney Games, she played professional volleyball in the Netherlands until 2003. In 2002, she competed in the World Championships.\n\nBeach volleyball \nBawden is a beach volleyball player. Following the 2008 Summer Olympics, she approached the Adelaide-based Australian beach volley programme about the possibility of getting into the sport. Following this, in 2009, she became involved with Australia's National Beach Volleyball Program, making a switch from indoor to beach and was initially teamed up with Becchara Palmer. That year, she shared the world beach volleyball association top rookie award with Angie Akers, an American.\n\nAt the 2009 Mazury Open in Stare Jablonki, Poland, Bawden and partner Palmer finished second. The competition was part of the FIVB World Tour. She and Palmer twice won the Australian Championships, once in 2010 and again in 2011.\n\nIn 2011, Palmer and Bawden were Australia's number one ranked team, and the duo finished ninth at the 2011 World Championships. With her partner Palmer, she finished seventeenth at the 2011 FIVB Moscow World Tour in Moscow, Russia. With her partner, she finished fourth at the 2011 FIVB Phuket World Tour in Phuket, Thailand.\n\nIn 2012, Bawden and Palmer played in 31 matches, winning 20 of them. This increased their world ranking to 16. With her partner, she finished ninth at the 2012 FIVB Brasília World Tour in Brasília, Brazil. With her partner, she finished fifth at the 2012 FIVB Sanya World Tour in Sanya, China. With her partner, she finished seventeenth at the 2012 FIVB Shanghai World Tour in Shanghai, China. With her partner, she finished ninth at the 2012 FIVB Beijing World Tour in Beijing, China. With her partner, she finished ninth at the 2012 FIVB Rome World Tour in Rome, Italy, which secured her Olympic berth. With her partner, she finished fifth at the 2012 FIVB Moscow World Tour in Moscow, Russia.\n\nBawden was selected to represent Australia at the 2012 Summer Olympics in beach volleyball, in June 2012 following a selection process that was 18 months long and involved becoming one of the sixteen top ranked teams in the world. Going into the Olympics, her team was ranked fourteenth in the world, but did not qualify from the pool stages.\n\nShe participated in the 2016 summer Olympics in Rio with partner Taliqua Clancy, and made it to the Quarter-finals.\n\nReferences\n\nExternal links\n \n \n \n \n\n1981 births\nLiving people\nAustralian women's volleyball players\nAustralian women's beach volleyball players\nVolleyball players at the 2000 Summer Olympics\nBeach volleyball players at the 2012 Summer Olympics\nOlympic volleyball players of Australia\nOlympic beach volleyball players of Australia\nBeach volleyball players at the 2016 Summer Olympics\nSportspeople from Melbourne"
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C_5ed7bcbf9b4d438faac7388fd5948edc_0
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When did they split?
| 6 |
When did Simone de Beauvoir and lover Nelson Algren split?
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Simone de Beauvoir
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Beginning in 1929, de Beauvoir and Jean-Paul Sartre were partners for fifty-one years until his death in 1980. De Beauvoir chose never to marry or set up a joint household and she never had children. This gave her the time to advance her education and engage in political causes, to write and teach, and to have lovers. Perhaps her most famous lover was American author Nelson Algren whom she met in Chicago in 1947, and to whom she wrote across the Atlantic as "my beloved husband." Algren won the National Book Award for The Man with the Golden Arm. In 1950, and in 1954, de Beauvoir won France's most prestigious literary prize for The Mandarins in which Algren is the character Lewis Brogan. Algren vociferously objected to their intimacy becoming public. Years after they separated, she was buried wearing his gift of a silver ring. However, she lived with Claude Lanzmann from 1952 to 1959. De Beauvoir was bisexual and her relationships with young women were controversial. Former student Bianca Lamblin (originally Bianca Bienenfeld) wrote in her book Memoires d'une jeune fille derangee (English: Memoirs of a Disturbed Young Lady), that, while she was a student at Lycee Moliere, she had been sexually exploited by her teacher de Beauvoir, who was in her 30s at the time. In 1943, de Beauvoir was suspended from her teaching job, due to an accusation that she had seduced her 17-year-old lycee pupil Natalie Sorokine in 1939. Sorokine's parents laid formal charges against de Beauvoir for debauching a minor and as a result she had her license to teach in France permanently revoked. In 1977, de Beauvoir, Sartre, Roland Barthes, Michel Foucault, Jacques Derrida and much of the era's intelligensia signed a petition seeking to abrogate the age of consent in France. CANNOTANSWER
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CANNOTANSWER
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Simone Lucie Ernestine Marie Bertrand de Beauvoir (, ; ; 9 January 1908 – 14 April 1986) was a French existentialist philosopher, writer, social theorist and feminist activist. Though she did not consider herself a philosopher, and even though she was not considered one at the time of her death, she had a significant influence on both feminist existentialism and feminist theory.
Beauvoir wrote novels, essays, biographies, autobiographies and monographs on philosophy, politics, and social issues. She was known for her 1949 treatise The Second Sex, a detailed analysis of women's oppression and a foundational tract of contemporary feminism; and for her novels, including She Came to Stay and The Mandarins. Her most enduring contribution to literature is her memoirs, notably the first volume, "Mémoires d'une jeune fille rangée" (1958), which have a warmth and descriptive power. She won the 1954 Prix Goncourt, the 1975 Jerusalem Prize, and the 1978 Austrian State Prize for European Literature. She was also known for her open, lifelong relationship with French philosopher Jean-Paul Sartre.
Early years
Beauvoir was born on 9 January 1908 into a bourgeois Parisian family in the 6th arrondissement. Her parents were Georges Bertrand de Beauvoir, a lawyer, who once aspired to be an actor, and Françoise Beauvoir (née Brasseur), a wealthy banker's daughter and devout Catholic. Simone's sister, Hélène, was born two years later. The family struggled to maintain their bourgeois status after losing much of their fortune shortly after World War I, and Françoise insisted the two daughters be sent to a prestigious convent school.
Beauvoir was intellectually precocious, fueled by her father's encouragement; he reportedly would boast, "Simone thinks like a man!" Because of her family's straitened circumstances, she could no longer rely on her dowry, and like other middle-class girls of her age, her marriage opportunities were put at risk. She took this opportunity to take steps towards earning a living for herself.
She first worked with Maurice Merleau-Ponty and Claude Lévi-Strauss, when all three completed their practice teaching requirements at the same secondary school. Although not officially enrolled, she sat in on courses at the École Normale Supérieure in preparation for the agrégation in philosophy, a highly competitive postgraduate examination which serves as a national ranking of students. It was while studying for it that she met École Normale students Jean-Paul Sartre, Paul Nizan, and René Maheu (who gave her the lasting nickname "Castor", or "beaver"). The jury for the agrégation narrowly awarded Sartre first place instead of Beauvoir, who placed second and, at age 21, was the youngest person ever to pass the exam.
Writing of her youth in Memoirs of a Dutiful Daughter she said:
"...my father's individualism and pagan ethical standards were in complete contrast to the rigidly moral conventionalism of my mother's teaching. This disequilibrium, which made my life a kind of endless disputation, is the main reason why I became an intellectual."
Secondary and post-secondary education
Beauvoir pursued post-secondary education after completing her high school years at Lycée Fenelon. After passing baccalaureate exams in mathematics and philosophy in 1925, she studied mathematics at the Institut Catholique de Paris and literature/languages at the . She then studied philosophy at the Sorbonne and after completing her degree in 1928, wrote her (roughly equivalent to an M.A. thesis) on Leibniz for Léon Brunschvicg (the topic was "Le concept chez Leibniz" ["The Concept in Leibniz"]). Her studies of political philosophy through university influenced her to start thinking of societal concerns rather than her own individual issues.
Religious upbringing
Beauvoir was raised in a strict Catholic household. She had been sent to convent schools as a youth. She was deeply religious as a child, at one point intending to become a nun. At age 14, Beauvoir questioned her faith as she saw many changes in the world after witnessing tragedies throughout her life. She abandoned her faith in her early teens and remained an atheist for the rest of her life. Beauvoir quotes "Faith allows an evasion of those difficulties which the atheist confronts honestly. And to crown all, the believer derives a sense of great superiority from this very cowardice itself."
Middle years
From 1929 until 1943, Beauvoir taught at the lycée level until she could support herself solely on the earnings of her writings. She taught at the (Marseille), the , and the (1936–39).
Beauvoir and Jean-Paul Sartre met during her college years. Intrigued by her determination as an educator, he sought out to make their relationship romantic. However, she had no interest in doing so. During October 1929, Jean-Paul Sartre and Beauvoir became a couple and, after they were confronted by her father, Sartre asked her to marry him on a provisional basis: One day while they were sitting on a bench outside the Louvre, he said, "Let's sign a two-year lease". Though Beauvoir wrote, "Marriage was impossible. I had no dowry", scholars point out that her ideal relationships described in The Second Sex and elsewhere bore little resemblances to the marriage standards of the day. Instead, she and Sartre entered into a lifelong "soul partnership", which was sexual but not exclusive, nor did it involve living together.
Sartre and Beauvoir always read each other's work. Debate continues about the extent to which they influenced each other in their existentialist works, such as Sartre's Being and Nothingness and Beauvoir's She Came to Stay and "Phenomenology and Intent". However, recent studies of Beauvoir's work focus on influences other than Sartre, including Hegel and Leibniz. The Neo-Hegelian revival led by Alexandre Kojève and Jean Hyppolite in the 1930s inspired a whole generation of French thinkers, including Sartre, to discover Hegel's Phenomenology of Spirit. However, Beauvoir, reading Hegel in German during the war, produced an original critique of his dialectic of consciousness.
Personal life
Beauvoir's prominent open relationships at times overshadowed her substantial academic reputation. A scholar lecturing with her chastised their "distinguished [Harvard] audience [because] every question asked about Sartre concerned his work, while all those asked about Beauvoir concerned her personal life." Beginning in 1929, Beauvoir and Sartre were partners and remained so for 51 years, until his death in 1980. She chose never to marry and never had children. This gave her the time to advance her education and engage in political causes, write and teach, and take lovers. She lived with Claude Lanzmann from 1952 to 1959.
Perhaps her most famous lover was American author Nelson Algren, whom she met in Chicago in 1947, and to whom she wrote across the Atlantic as "my beloved husband." Algren won the National Book Award for The Man with the Golden Arm in 1950, and in 1954, Beauvoir won France's most prestigious literary prize for The Mandarins, in which Algren is the character Lewis Brogan. Algren vociferously objected to their intimacy becoming public. Years after they separated, she was buried wearing his gift of a silver ring.
Beauvoir was bisexual, and her relationships with young women were controversial. French author Bianca Lamblin (originally Bianca Bienenfeld) wrote in her book Mémoires d'une Jeune Fille Dérangée (published in English under the title A Disgraceful Affair) that, while a student at Lycée Molière, she was sexually exploited by her teacher Beauvoir, who was in her 30s. Lamblin had affairs with both Jean-Paul Sartre and Beauvoir. In 1943, Beauvoir was suspended from her teaching position when she was accused of seducing her 17-year-old lycée pupil Natalie Sorokine in 1939. Sorokine's parents laid formal charges against Beauvoir for debauching a minor (the age of consent in France at the time was 15), and Beauvoir's license to teach in France was revoked, although it was subsequently reinstated.
In 1977, Beauvoir, Sartre, Roland Barthes, Michel Foucault, Jacques Derrida and much of the era's intelligentsia signed a petition seeking to completely remove the age of consent in France.
Notable works
She Came to Stay
Beauvoir published her first novel She Came to Stay in 1943. It has been assumed that it is inspired by her and Sartre's sexual relationship with Olga Kosakiewicz and Wanda Kosakiewicz. Olga was one of her students in the Rouen secondary school where Beauvoir taught during the early 1930s. She grew fond of Olga. Sartre tried to pursue Olga but she rejected him, so he began a relationship with her sister Wanda. Upon his death, Sartre was still supporting Wanda. He also supported Olga for years, until she met and married Jacques-Laurent Bost, a lover of Beauvoir. However, the main thrust of the novel is philosophical, a scene in which to situate Beauvoir's abiding philosophical pre-occupation - the relationship between the self and the other.
In the novel, set just before the outbreak of World War II, Beauvoir creates one character from the complex relationships of Olga and Wanda. The fictionalised versions of Beauvoir and Sartre have a ménage à trois with the young woman. The novel also delves into Beauvoir and Sartre's complex relationship and how it was affected by the ménage à trois.
She Came to Stay was followed by many others, including The Blood of Others, which explores the nature of individual responsibility, telling a love story between two young French students participating in the Resistance in World War II.
Existentialist ethics
In 1944, Beauvoir wrote her first philosophical essay, Pyrrhus et Cinéas, a discussion on existentialist ethics. She continued her exploration of existentialism through her second essay The Ethics of Ambiguity (1947); it is perhaps the most accessible entry into French existentialism. In the essay, Beauvoir clears up some inconsistencies that many, Sartre included, have found in major existentialist works such as Being and Nothingness. In The Ethics of Ambiguity, Beauvoir confronts the existentialist dilemma of absolute freedom vs. the constraints of circumstance.
Les Temps modernes
At the end of World War II, Beauvoir and Sartre edited Les Temps modernes, a political journal which Sartre founded along with Maurice Merleau-Ponty and others. Beauvoir used Les Temps Modernes to promote her own work and explore her ideas on a small scale before fashioning essays and books. Beauvoir remained an editor until her death.
Sexuality, existentialist feminism and The Second Sex
The Second Sex, first published in 1949 in French as Le Deuxième Sexe, turns the existentialist mantra that existence precedes essence into a feminist one: "One is not born but becomes a woman" (French: "On ne naît pas femme, on le devient"). With this famous phrase, Beauvoir first articulated what has come to be known as the sex-gender distinction, that is, the distinction between biological sex and the social and historical construction of gender and its attendant stereotypes. Beauvoir argues that "the fundamental source of women's oppression is its [femininity's] historical and social construction as the quintessential".
Beauvoir defines women as the "second sex" because women are defined in relation to men. She pointed out that Aristotle argued women are "female by virtue of a certain lack of qualities", while Thomas Aquinas referred to woman as "imperfect man" and the "incidental" being. She quotes "In itself, homosexuality is as limiting as heterosexuality: the ideal should be to be capable of loving a woman or a man; either, a human being, without feeling fear, restraint, or obligation."
Beauvoir asserted that women are as capable of choice as men, and thus can choose to elevate themselves, moving beyond the "immanence" to which they were previously resigned and reaching "transcendence", a position in which one takes responsibility for oneself and the world, where one chooses one's freedom.
Chapters of The Second Sex were originally published in Les Temps modernes, in June 1949. The second volume came a few months after the first in France. It was published soon after in America due to the quick translation by Howard Parshley, as prompted by Blanche Knopf, wife of publisher Alfred A. Knopf. Because Parshley had only a basic familiarity with the French language, and a minimal understanding of philosophy (he was a professor of biology at Smith College), much of Beauvoir's book was mistranslated or inappropriately cut, distorting her intended message. For years, Knopf prevented the introduction of a more accurate retranslation of Beauvoir's work, declining all proposals despite the efforts of existentialist scholars.
Only in 2009 was there a second translation, to mark the 60th anniversary of the original publication. Constance Borde and Sheila Malovany-Chevallier produced the first integral translation in 2010, reinstating a third of the original work.
In the chapter "Woman: Myth and Reality" of The Second Sex, Beauvoir argued that men had made women the "Other" in society by application of a false aura of "mystery" around them. She argued that men used this as an excuse not to understand women or their problems and not to help them, and that this stereotyping was always done in societies by the group higher in the hierarchy to the group lower in the hierarchy. She wrote that a similar kind of oppression by hierarchy also happened in other categories of identity, such as race, class, and religion, but she claimed that it was nowhere more true than with gender in which men stereotyped women and used it as an excuse to organize society into a patriarchy.
Despite her contributions to the feminist movement, especially the French women's liberation movement, and her beliefs in women's economic independence and equal education, Beauvoir was initially reluctant to call herself a feminist. However, after observing the resurgence of the feminist movement in the late 1960s and early 1970s, Beauvoir stated she no longer believed a socialist revolution to be enough to bring about women's liberation. She publicly declared herself a feminist in 1972 in an interview with Le Nouvel Observateur.
In 2018 the manuscript pages of Le Deuxième Sexe were published. At the time her adopted daughter, Sylvie Le Bon-Beauvoir, a philosophy professor, described her mother's writing process: Beauvoir wrote every page of her books longhand first and only after that would hire typists.
The Mandarins
Published in 1954, The Mandarins won her France's highest literary prize, the Prix Goncourt. The book is set after the end of World War II and follows the personal lives of philosophers and friends among Sartre's and Beauvoir's intimate circle, including her relationship with American writer Nelson Algren, to whom the book was dedicated.
Algren was outraged by the frank way Beauvoir described their sexual experiences in both The Mandarins and her autobiographies. Algren vented his outrage when reviewing American translations of Beauvoir's work. Much material bearing on this episode in Beauvoir's life, including her love letters to Algren, entered the public domain only after her death.
Les Inséparables
Beauvoir's early novel Les Inséparables, long suppressed, was published in French in 2020 and in two different English translations in 2021.<ref>Reviewed 23 Aug. 2021 by Merve Emre in The New Yorker" https://www.newyorker.com/magazine/2021/08/30/simone-de-beauvoirs-lost-novel-of-early-love</ref> Written in 1954, the book describes her first love, a classmate named Elisabeth Lacoin ("Zaza") who died before age 22, and had as a teenager a "passionate and tragic" relationship with Beauvoir and Merleau-Ponty, then teaching at the same school. Disapproved by Sartre, the novel was deemed "too intimate" to be published during Beauvoir's lifetime.
Later years
Beauvoir wrote popular travel diaries about time spent in the United States and China and published essays and fiction rigorously, especially throughout the 1950s and 1960s. She published several volumes of short stories, including The Woman Destroyed, which, like some of her other later work, deals with aging.
1980 saw the publication of When Things of the Spirit Come First, a set of short stories centred around and based upon women important to her earlier years. Though written long before the novel She Came to Stay, Beauvoir did not at the time consider the stories worth publishing, allowing some forty years to pass before doing so.
Sartre and Merleau-Ponty had a longstanding feud, which led Merleau-Ponty to leave Les Temps Modernes. Beauvoir sided with Sartre and ceased to associate with Merleau-Ponty. In Beauvoir's later years, she hosted the journal's editorial meetings in her flat and contributed more than Sartre, whom she often had to force to offer his opinions.
Beauvoir also wrote a four-volume autobiography, consisting of: Memoirs of a Dutiful Daughter; The Prime of Life; Force of Circumstance (sometimes published in two volumes in English translation: After the War and Hard Times); and All Said and Done. In 1964 Beauvoir published a novella-length autobiography, A Very Easy Death, covering the time she spent visiting her ageing mother, who was dying of cancer. The novella brings up questions of ethical concerns with truth-telling in doctor-patient relationships.
Her 1970 long essay La Vieillesse (The Coming of Age) is a rare instance of an intellectual meditation on the decline and solitude all humans experience if they do not die before about the age of 60.
In the 1970s Beauvoir became active in France's women's liberation movement. She wrote and signed the Manifesto of the 343 in 1971, a manifesto that included a list of famous women who claimed to have had an abortion, then illegal in France. Some argue most of the women had not had abortions, including Beauvoir. Signatories were diverse as Catherine Deneuve, Delphine Seyrig, and Beauvoir's sister Poupette. In 1974, abortion was legalised in France.
In a 1975 interview with Betty Friedan Beauvoir said "No woman should be authorized to stay at home and raise her children. Society should be totally different. Women should not have that choice, precisely because if there is such a choice, too many women will make that one."
In about 1976 Beauvoir and Sylvie Le Bon made a trip to New York City in the United States to visit Kate Millett on her farm.
In 1981 she wrote La Cérémonie Des Adieux (A Farewell to Sartre), a painful account of Sartre's last years. In the opening of Adieux, Beauvoir notes that it is the only major published work of hers which Sartre did not read before its publication.
She contributed the piece "Feminism – alive, well, and in constant danger" to the 1984 anthology Sisterhood Is Global: The International Women's Movement Anthology, edited by Robin Morgan.
After Sartre died in 1980, Beauvoir published his letters to her with edits to spare the feelings of people in their circle who were still living. After Beauvoir's death, Sartre's adopted daughter and literary heir Arlette Elkaïm would not let many of Sartre's letters be published in unedited form. Most of Sartre's letters available today have Beauvoir's edits, which include a few omissions but mostly the use of pseudonyms. Beauvoir's adopted daughter and literary heir Sylvie Le Bon, unlike Elkaïm, published Beauvoir's unedited letters to both Sartre and Algren.
Beauvoir died of pneumonia on 14 April 1986 in Paris, aged 78. She is buried next to Sartre at the Montparnasse Cemetery in Paris. She was honored as a figure at the forefront of the struggle for women's rights around the time of her passing.
Impact
Simone de Beauvoir's The Second Sex is considered a foundational work in the history of feminism. Beauvoir had denied being a feminist multiple times but ultimately admitted that she was one after the influential Second Sex became crucial in the world of feminism. The work has had a profound influence, opening the way for second wave feminism in the United States, Canada, Australia, and around the world. Despite the fact that Beauvoir has been quoted as saying "There is a certain unreasonable demand that I find a little stupid because it would enclose me, immobilize me completely in a sort of feminist concrete block." Her works on feminism have paved the way for all future feminists. Founders of the second wave read The Second Sex in translation, including Kate Millett, Shulamith Firestone, Juliet Mitchell, Ann Oakley and Germaine Greer. All acknowledged their profound debt to Beauvoir, including visiting her in France, consulting with her at crucial moments, and dedicating works to her. Betty Friedan, whose 1963 book The Feminine Mystique is often regarded as the opening salvo of second wave feminism in the United States, later said that reading The Second Sex in the early 1950s "led me to whatever original analysis of women's existence I have been able to contribute to the Women's movement and to its unique politics. I looked to Simone de Beauvoir for a philosophical and intellectual authority."
At one point in the early seventies, Beauvoir also aligned herself with the League for Woman's rights as a means to campaign and fight against sexism in the French society. Beauvoir's influence goes beyond just her impact on second wave founders, and extends to numerous aspects of feminism, including literary criticism, history, philosophy, theology, criticism of scientific discourse, and psychotherapy. When Beauvoir first became involved with the feminism movement, one of her first objectives was that of legalizing abortion.Donna Haraway wrote that, "despite important differences, all the modern feminist meanings of gender have roots in Simone de Beauvoir's claim that 'one is not born a woman [one becomes one]'". This "most famous feminist sentence ever written" is echoed in the title of Monique Wittig's 1981 essay One Is Not Born a Woman. Judith Butler took the concept a step further, arguing that Beauvoir's choice of the verb to become suggests that gender is a process, constantly being renewed in an ongoing interaction between the surrounding culture and individual choice.
Prizes
Prix Goncourt, 1954
Jerusalem Prize, 1975
Austrian State Prize for European Literature, 1978
Works
List of publications (non-exhaustive)
L'Invitée (1943) (English – She Came to Stay) [novel]
Pyrrhus et Cinéas (1944) [nonfiction]
Le Sang des autres (1945) (English – The Blood of Others) [novel]
Les Bouches inutiles (1945) (English - Who Shall Die?) [drama]
Tous les hommes sont mortels (1946) (English – All Men Are Mortal) [novel]
Pour une morale de l'ambiguïté (1947) (English – The Ethics of Ambiguity) [nonfiction]
"America Day by Day" (1948) (English – 1999 – Carol Cosman (Translator and Douglas Brinkley (Foreword) [nonfiction]
Le Deuxième Sexe (1949) (English – The Second Sex) [nonfiction]
L'Amérique au jour le jour (1954) (English – America Day by Day)
Les Mandarins (1954) (English – The Mandarins) [novel]
Must We Burn Sade? (1955)
The Long March (1957) [nonfiction]
Memoirs of a Dutiful Daughter (1958)
The Prime of Life (1960)
Force of Circumstance (1963)
A Very Easy Death (1964)
Les Belles Images (1966) [novel]
The Woman Destroyed (1967) [short stories]
The Coming of Age (1970) [nonfiction]
All Said and Done (1972)
Old Age (1972) [nonfiction]
When Things of the Spirit Come First (1979) [novel]
Adieux: A Farewell to Sartre (1981)
Letters to Sartre (1990)
Journal de guerre, Sept 1939 – Jan 1941 (1990); English – Wartime Diary (2009)
A Transatlantic Love Affair: Letters to Nelson Algren (1998)
Diary of a Philosophy Student, 1926–27 (2006)
Cahiers de jeunesse, 1926–1930 (2008)
Selected translations
Patrick O'Brian was Beauvoir's principal English translator, until he attained commercial success as a novelist.
Philosophical Writings (Urbana : University of Illinois Press, 2004, edited by Margaret A. Simons et al.) contains a selection of essays by Beauvoir translated for the first time into English. Among those are: Pyrrhus and Cineas, discussing the futility or utility of action, two previously unpublished chapters from her novel She Came to Stay and an introduction to Ethics of Ambiguity.
See also
Art Shay
Roman à clef
Simone Weil
List of women's rights activists
Place Jean-Paul-Sartre-et-Simone-de-Beauvoir
References
Sources
Appignanesi, Lisa, 2005, Simone de Beauvoir, London: Haus,
Bair, Deirdre, 1990. Simone de Beauvoir: A Biography. New York: Summit Books,
Rowley, Hazel, 2005. Tête-a-Tête: Simone de Beauvoir and Jean-Paul Sartre. New York: HarperCollins.
Suzanne Lilar, 1969. Le Malentendu du Deuxième Sexe (with collaboration of Prof. Dreyfus). Paris, University Presses of France (Presses Universitaires de France).
Fraser, M., 1999. Identity Without Selfhood: Simone de Beauvoir and Bisexuality, Cambridge and New York: Cambridge University Press.
Axel Madsen, Hearts and Minds: The Common Journey of Simone de Beauvoir and Jean-Paul Sartre, William Morrow & Co, 1977.
Hélène Rouch, 2001–2002, Trois conceptions du sexe: Simone de Beauvoir entre Adrienne Sahuqué et Suzanne Lilar, Simone de Beauvoir Studies, n° 18, pp. 49–60.
Simone de Beauvoir, Marguerite Yourcenar, Nathalie Sarraute, 2002. Conférence Élisabeth Badinter, Jacques Lassalle & Lucette Finas, .
Further reading
Le Malentendu du Deuxième Sexe by Suzanne Lilar, 1969.
Feminist Theory and Simone de Beauvoir by Toril Moi, 1990.
Appignanesi, Lisa. Simone de Beauvoir. London: Penguin. 1988. .
Bair, Deirdre. Simone de Beauvoir: A Biography. New York: Summit Books. 1990. .
Francis, Claude. Simone de Beauvoir: A Life, A Love Story. Lisa Nesselson (Translator). New York: St. Martin's, 1987. .
Okely, Judith. Simone de Beauvoir. New York: Pantheon. 1986. .
External links
Guardian Books "Author Page", with profile and links to further articles.
Victoria Brittain et al discuss Simone de Beauvoir's lasting influence, ICA 1989
"Simone de Beauvoir", Great Lives, BBC Radio 4, 22 April 2011
Kate Kirkpatrick. (6 November 2017) "What is authentic love? A View from Simone de Beauvoir" . IAI News''.
1908 births
1986 deaths
20th-century French non-fiction writers
20th-century French novelists
20th-century French philosophers
20th-century French women writers
Atheist feminists
Atheist philosophers
Bisexual feminists
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Burials at Montparnasse Cemetery
Communist women writers
Continental philosophers
Critical theorists
Cultural critics
Deaths from pneumonia in France
Epistemologists
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Social critics
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University of Paris alumni
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Writers from Paris
20th-century French memoirists
French magazine founders
LGBT philosophers
| false |
[
"Agathocles is a Belgian political grindcore band that began in 1985. They are mainly known for producing a large quantity of split seven-inch EPs. They play a style of grindcore that they have dubbed \"mincecore\". Lyrical themes of the band have focused on anti-fascism, animal liberation and anarchism. All members of Agathocles are vegetarian.\n\nTheir lineup has changed numerous times since they first started, the only consistent member being Jan Frederickx (also known as Jan AG).\n\nBiography\n\n1980s\nAgathocles formed in the Belgian city of Mol, aspiring to sound like bands such as Lärm or Hellhammer. Although the band itself did not form until 1985, its original members (Jan and Erwin) had been involved in the underground metal/punk scene since the beginning of the decade, releasing compilation tapes and zines. Most of the rehearsal tapes they recorded during their first year together have now been lost, although a few survive, mainly in the form of appearances on compilations from the time.\n\nAgathocles first started playing concerts a year later, in 1985, although audiences were always limited due to there only being a small minority who listened to the type of extreme music the band was producing. That year, the band had an on-air interview on the local radio station.\n\nBy 1987, the band's line-up had begun to settle, albeit temporarily, in the form of Jan, Ronny and Erwin. The band had also found a long-term rehearsal space, where they would not receive complaints (or even get kicked out) because of the noise as they had made in earlier rehearsal rooms. This was in a youth club in Mol, \"Jam\", where they recorded more compilation tracks and organised more small concerts. They even played gigs with other bands who would become equally famous in later years, such as Napalm Death and Pestilence (and later Extreme Noise Terror, as well as smaller bands such as Violent Mosquitos and Total Mosh Project.)\n\nThe first Agathocles releases were issued in 1988, which saw the arrival of a split EP with Riek Boois, as well as their first solo outing, Cabbalic Gnosticism, both of which were originally issued on cassette. Other material was recorded at the same time, although this was not released until later. By this time the band had 4 members, as Jakke had joined on guitar in December the year before, allowing Jan to concentrate on vocals.\n\nAnother guitarist, Guy, joined a year later, in 1989, and the split LP with the band Drudge was recorded and released on Deaf Records, as well as several other EPs. Towards the end of the year, the line-up changed yet again, with the bassist, Ronny, leaving the band and guitarist Jakke taking over from him.\n\n1990s\nA major line-up change occurred at the beginning of the decade, in May 1990, when Jan got rid of all the other members of the band and found two new members instead - Domingo on guitar and Burt on drums, with Jan now playing bass. Domingo and Burt were both from little-known Belgian grindcore band Necrosis, who recorded only one demo, in 1990. With the new line-up, the band ceased rehearsing in Mol, moving instead to the drummer's home town of Zichem. Several more EPs were released in the same year and, with the band growing in popularity, they played gigs in Denmark as well as Belgium and went on a mini tour with the Japanese grindcore band SxOxB.\n\nMore line-up changes occurred throughout the next few years. Ex-Agathocles drummer Erwin briefly returned in 1991, now playing bass guitar. After only a few months with this line-up, Domingo left the band, leaving the band as a three-piece group during the recording of their Agarchy EP in July. However, the band soon had four members again when Domingo was replaced by Chris. It was with this line-up that they recorded Theatric Symbolisation Of Life, but towards the end of the year, Erwin left the band again and Agathocles got a new bassist called Dirk.\n\nIn the summer of 1991, Agathocles also went on another tour, this time in East Germany, with vocalist Tuur from fellow Belgian mincecore band Reign Of Terror. Tuur did vocals for this tour because guitarist Chris was unable to tour with the band, so Jan had to take over his guitarist duties.\n\nThe band's line-up changed again in May 1992 when guitarist Chris and bassist Dirk left to form their own band. Agathocles found a new guitarist to take over from Chris - Steve (from Belgian grindcore band Intestinal Disease) - and Jan played bass guitar (as well as doing vocals). Two of the band's LPs (Cliché? and Use Your Anger) were recorded with this new line-up and they also played one gig in Italy for the first time in a small town named Macomer (Sardinia).\n\nThe band remained a 3-piece group throughout 1993, with the line-up staying consistent as Jan, Burt and Steve. It was with this line-up that Agathocles went on a major European tour, visiting Belgium, the Czech Republic, Slovakia, Germany and the Netherlands, as well as recording several more split EPs. In 1994, the band retained the same line-up, this time touring in Spain (in July of that year), where they recorded the Mince Mongers In Barna EP in the rehearsal room of Spanish mincecore band Violent Headache. The Black Clouds Determinate CD was also recorded in this year.\n\nThe line-up stayed the same during the first half of 1995, during which time Agathocles recorded their album Razor Sharp Daggers, as well as featuring on the compilation Metalopolis, which was released by the Belgian radio station Studio Brussel. In the summer, however, the line-up changed again, with Matty replacing Steve on guitar.\n\nThis line-up would stay constant through 1996 and for most of 1997, two years in which Agathocles did a lot more touring. This started at the beginning of 1996, when the band visited Turkey, playing alongside the band Radical Noise, and then they toured the Czech Republic with the mincecore band Malignant Tumour. During this tour, the band recorded a video as a benefit for a Czech animal rights group. As well as recording the album Thanks For Your Hostility and several more split EPs, Agathocles also recorded a studio session in 1996 on the radio station Studio Brussel. Another such session was done the year later, this time in the BBC studios in England, where they recorded a Peel Session, in the same way that many other famous grindcore bands have done. 1997 was also the year that the Humarrogance album was recorded (as well as even more split EPs) and the band also toured in Germany with Swedish band Driller Killer. In November, the line-up changed again, when the band returned to being a four-piece, with Vince joining as the bass guitarist.\n\nWith this new line-up, the band toured again in Germany with Driller Killer in 1998 before Matty and Vince left the band in June and Dirk rejoined as the guitarist, with Jan playing bass again. This new line-up, of Jan, Burt and Dirk recorded several more split EPs, and toured in the Czech Republic and Slovakia. They also played gigs with other bands in the underground scene such as Unholy Grave, My Minds Mine and Malignant Tumour. The band ended the decade with a line-up that would last for several years into the new millennium.\n\n2000s \nIn 2000, Agathocles released their sixth full-length, To Serve… to Protect, that was distributed through the Italian label Vacation House (later re-released with bonus tracks by the Brazilian labels No Fashion HC and Heavy Metal Rock).\n\nMembers\nJan Frederickx - guitar, vocals (1985-)\nNils Laureys - drums, vocals (2007-)\nKoen - guitar (2012-)\n\nPast members \nErwin Vandenbergh - drums (1985-1990) bass (1991)\nRonny - bass (1987-1989)\nJakke - guitar (1987-1990)\nGuy - guitar (1989-1990)\nDomingo Smets - guitar (1990)\nBurt Beyens - drums (1990-2002)\nChris - guitar (1991-1992)\nDirk - bass (1991-1992)\nSteve Houtmeyers - guitar (1992-1995)\nMatty Dupont - guitar (1995-1998)\nDirk Cuyks - guitar (1998-2007)\nRoel Tulleneers - drums (2002-2007)\nTony Schepkens - bass (2007-2008)\nBram Criekemans - bass (2008-2012)\n\nDiscography\n\nCDs\nKeizershof disaster* 1986-2016 punk/straight edge/hardcore/crust\nTheatric Symbolisation of Life''' 1992Use Your Anger 1992Black Clouds Determinate 1994Razor Sharp Daggers 1995The LPs: 1989-1991 1996Thanks For Your Hostility 1996Humarrogance 1997Split with Axed Up Conformist 1999 To Serve... to Protect... 2000Superiority Overdose 20014-Way Split with Abortion, Din-Addict and Malignant Tumour 2001Bomb Brussels (Live Album) 2001Alive & Mincing (Live Album) 2003Mincemania In Bulgaria 2004Mincer 2006Get Off your Ass/In Noise we Noise Split with Ruido Genital 2007Night Train To Terror split with Saul Turteltaub 2007Split with The Vanishing Act 2008Split with Armatura 2008Abstract split with Cü Sujo 2008Grind is Protest 2009Split with Crowd Control 2009\"Imaginary Boundaries\" 4-way split with Detrua Ideo/Violenta Dizimacao/Pissdeads 2009This is Not a Threat, It's a Promise 20104 way split with Kerenaneko, Prosuck and Rvota 2011Kanpai!! 2012Agathocles/Nauseate - Split CD 2014Commence to Mince 2016We Just Don't Fit 2018Baltimore Mince Massacre 2020\n\nLPsSupposed It Was You (split with Drudge) 1989Split with Lunatic Invasion 1991Theatric Symbolisation Of Life 1992Agarchy / Use Your Anger 1997Split with Deadmocracy 1998Until It Bleeds (Best Of) 1997Live and Noisy (Live) 1997Mincecore (Compilation) 1998To Serve... To Protect 1999Live in Leipzig, Germany 1991 (Live) 1999Mincecore History 1985-1990 (Compilation) 2000Keep Mincing (Compilation) 2001Superiority Overdose 2001Mincecore History 1989-1993 (Best of) 2001Chop Off Their Trust (Split) 2002Live Aalst Belgium 1989 (Split) 2002Until It Bleeds Again (1994-1999) (Best of) 2002\nSplit With Sterbe Hilfe - Emoc T'now Modcnik Yht! (Split Album) 2003To Serve... To Protect / Leads To... (Best of) 2003\n\nEPsIf This Is Gore, What's Meat Then (split with Riek Boois) 1988Split with Disgorge 1989Split with V.N.A. 1989Fascination of Mutilation 1989If This Is Cruel What's Vivisection Then? 1989Who Profits? Who Dies? (split with Morbid Organs Mutilation (M.O.M.)) 1989Split with Blood 1990Split with Smegma 1991Split with Putrid Offal 1991Split with Psycho 1991Agarchy 1991Cliché? 1992Split with Social Genocide 1993Blind World (split with Nasum) 1993Split with Starvation 1993War Scars (split with Kompost) 1993Distrust And Abuse 1993Split with Nyctophobic 1993Split with Bad Acid Trip 1993No Use ...For Hatred 1993Split with Patareni 1993Split with Smash The Brain 1993Split with Man Is The Bastard 1993Split with Plastic Grave 1994Split with Audiorrea 1994Split with Averno 1994Split with Punisher 1994Mince-Mongers in Barna 1994Split with Carcass Grinder 1994Split with Rot 1994Back To 1987 (Best Of Album) 1994Split with Notoken 1995Split with Voltifobia 1996Split with Vomit Fall 1996Split with Preparation H 1996Split with Autoritor 1996Split with Krush 1996Bomb Brussels 1996Minced Alive 1996Split with Black Army Jacket 1996Split with No Gain - Just Pain 1996Split with Respect 1997Split with Böses Blut 1997Split with PP7 Gaftzeb 1997Split with Looking For Answer 1997Split with Monolith (grindcore) 1997Split with Shikabane 1997Split with Malignant Tumour 1997Split with D.I.E. 1997Split with BWF 1997Split with Abstain 1997Split with Mitten Spider 1997Split with Comrades 1998Split with Spud 1998Split with Bloodsucker 1998Split with Depressor 1998Split with Hunt Hunters 1999Split with Glass Eyes 1999Split with Disreantiyouthhellchristbastardassmanx 1999Split with Grind Buto 1999Split with Piles Left to Rot 2000Split with Kontatto 2000Split with Din-Addict 2000Split with Brutal Headache 2000Kicked and Whipped/Keep On Selling Cocaine to Angels 2000Split with Disculpa 2000Split with Jan AG 2002Split with Front Beast 2003Split with Sodan Sankareita 2003Split EP with The Mad Thrashers 2004Split EP with Kadaverficker 2004Split with ... Our Last Beer(s) 2004Split with dios hastío 2005Split with Archagathus 2006Split with Seven Minutes of Nausea 2007Split with J. Briglia, L. Butler, D. Schoonmaker & J. Williams 2008Split with SMG 2008Split with Armatura 2008Split with Crowd Control 2008Split with I Hope You Suffer 2008Split with Repulsione 2008Split with Disleksick 2009Split with ShitFuckingShit and GAPSplit with Jandek (collaboration) Split with Sposa In Alto Mare (7 inches) 2011Split with Kurws (5 inches) 2013Split with Necrology 2015Split EP with G.I. Joke 2015Split with GodCum 2018\n Split with LtxDan 2017Split with Antikult 2019Split with Terminal Filth Wimpcore Killer (7 inch) 2021\n\nDTsCabbalic Gnosticism 1988Live In Gierle 1989\n\nDVDsSuperiority Overdose'' 2002\n\nReferences\n\nExternal links \n Agathocles Interview at Diabolical Conquest Webzine\n\nBelgian grindcore musical groups\nMusical groups established in 1985\nBelgian musical trios\nGeel\n1985 establishments in Belgium",
"The 1834 Dutch Reformed Church split, or the Secession of 1834 (), known simply as Afscheiding (\"separation, secession, split\"), refers to a split that occurred within the Dutch Reformed Church in 1834. The federation of churches resulting from this split, the Christelijke Gereformeerde Kerken (CGK) (translated to the Christian Reform Church) still exists in the Netherlands today. The Free Reformed Churches are the North American counterpart.\n\nLeading up to Secession \nThe Secession of 1834 began in Ulrum, a town in the north of the Dutch province of Groningen. Leading up to the secession, their pastor, reverend Hendrik de Cock was forbidden by the government to preach and ordered not to warn people against what he believed to be the erroneous teachings of some of his colleagues. Hendrik, along with other ministers, publicly opposed and denied some of the heresies that were being tolerated by the churches. They also rejected the introduction of manmade hymns into worship in place of the use of the Psalms. He was also forbidden to baptize the children of believers who refused to have their children baptized by their own ministers who they believed were not sound in the faith. The people that decided to leave had a very hard time at the beginning. Some people were fined, some were jailed.\n\nOutcome \nTherefore, on 14 October 1834, a large majority of the congregation of the Dutch Reformed Church in Ulrum, signed \"The Act of Secession and Return\", breaking away from the State Church. The Secession would play a role in the 1857 Dutch Reformed Church split between the Reformed Church in America and the Christian Reformed Church in North America in 1857. There were three major principles that went along with the split: 1. They withdrew from the church \"false\", 2. gave loyalty to the three reforms and the \"Order of Dort\", and 3. wanted to make connections with other churches with the same values and beliefs. Various churches came and left the movement, but the ones that stayed united under the Christian reform church. They were not allowed to conjugate in groups larger than twenty people, and they were not able to get buildings or property to have churches built for their meetings. Here and there over time, they gained respect and were able to worship, but because of all these repercussions at the beginning, the act of praying before a church service derived from the meetings they would hold in secret. \n\nMany of those trying to secede were treated poorly, so they looked for a different way out to partake in their religion in peace. Some reformers decided it was time to move, so they migrated to America, some going to what is today known as New York and Michigan. In 1857 the Christian Reformed Church was finally created in Grand Rapids, Michigan. After more trouble and the leaders not accepting and wanting to preach certain aspects, they then formed the Christian Protestant church. These two denominations flourished when a spike in Dutch immigration occurred at the end of the second world war. From these two denominations, they then took full advantage of their freedom of religion in America, and created a series of denominations from the two, they could pick and choose the aspects they wanted to include in their religions and what they did not want to preach on, and sometimes it came down to being as simple as them being loyal to a certain leader or priest, so they followed them through the changes in denominations.\n\nAbraham Kuyper \nThis was a brilliant man from the years of the reformation of the Churches. He founded the Anti Revolutionary party after deciding he was converted by a Godly woman at one of his first congregations. In 1880 he became a very important and influential mover in the Free University of Amsterdam, which gave the reformed a higher education. He shared some of the same views as Calvinism, but not he did not preach all of the aspects of Calvin's teachings. For one, he did not press the need for conversion, or being saved. He believed that children of those already were saved unless they showed otherwise. That being said, he and his people did not see the need to be saved or partake in that practice unless they had reason to believe the person at hand showed they were not converted. When learning that the local church did not agree with his views, his people decided they needed to once again break from the church. When denied a chance to create an entirely new church and following, Kuyper and his people decided to find a way to unite his church with that of the local church.\n\nSee also\n\n1857 Dutch Reformed Church split\n1886 Dutch Reformed Church split\n\nFootnotes \n\nSecession of 1834\n1834 in the Netherlands\nSchisms in Christianity\n1834 in Christianity\nHistory of Calvinism in the Netherlands"
] |
[
"Simone de Beauvoir",
"Personal life",
"Did she ever marry?",
"De Beauvoir chose never to marry or set up a joint household and she never had children.",
"did she ever have interest in men?",
"was bisexual and her relationships with young women were controversial.",
"What about her sexual life caused controversy?",
"de Beauvoir was suspended from her teaching job, due to an accusation that she had seduced her 17-year-old lycee pupil Natalie Sorokine in 1939.",
"Was she ever jailed due to it?",
"she had her license to teach in France permanently revoked.",
"did she have a dedicated partner at all?",
"her most famous lover was American author Nelson Algren whom she met in Chicago in 1947, and to whom she wrote across the Atlantic as \"my beloved husband.\"",
"When did they split?",
"I don't know."
] |
C_5ed7bcbf9b4d438faac7388fd5948edc_0
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Why did she never get married?
| 7 |
Why did Simone de Beauvoir never get married?
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Simone de Beauvoir
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Beginning in 1929, de Beauvoir and Jean-Paul Sartre were partners for fifty-one years until his death in 1980. De Beauvoir chose never to marry or set up a joint household and she never had children. This gave her the time to advance her education and engage in political causes, to write and teach, and to have lovers. Perhaps her most famous lover was American author Nelson Algren whom she met in Chicago in 1947, and to whom she wrote across the Atlantic as "my beloved husband." Algren won the National Book Award for The Man with the Golden Arm. In 1950, and in 1954, de Beauvoir won France's most prestigious literary prize for The Mandarins in which Algren is the character Lewis Brogan. Algren vociferously objected to their intimacy becoming public. Years after they separated, she was buried wearing his gift of a silver ring. However, she lived with Claude Lanzmann from 1952 to 1959. De Beauvoir was bisexual and her relationships with young women were controversial. Former student Bianca Lamblin (originally Bianca Bienenfeld) wrote in her book Memoires d'une jeune fille derangee (English: Memoirs of a Disturbed Young Lady), that, while she was a student at Lycee Moliere, she had been sexually exploited by her teacher de Beauvoir, who was in her 30s at the time. In 1943, de Beauvoir was suspended from her teaching job, due to an accusation that she had seduced her 17-year-old lycee pupil Natalie Sorokine in 1939. Sorokine's parents laid formal charges against de Beauvoir for debauching a minor and as a result she had her license to teach in France permanently revoked. In 1977, de Beauvoir, Sartre, Roland Barthes, Michel Foucault, Jacques Derrida and much of the era's intelligensia signed a petition seeking to abrogate the age of consent in France. CANNOTANSWER
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she never had children. This gave her the time to advance her education and engage in political causes, to write and teach, and to have lovers.
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Simone Lucie Ernestine Marie Bertrand de Beauvoir (, ; ; 9 January 1908 – 14 April 1986) was a French existentialist philosopher, writer, social theorist and feminist activist. Though she did not consider herself a philosopher, and even though she was not considered one at the time of her death, she had a significant influence on both feminist existentialism and feminist theory.
Beauvoir wrote novels, essays, biographies, autobiographies and monographs on philosophy, politics, and social issues. She was known for her 1949 treatise The Second Sex, a detailed analysis of women's oppression and a foundational tract of contemporary feminism; and for her novels, including She Came to Stay and The Mandarins. Her most enduring contribution to literature is her memoirs, notably the first volume, "Mémoires d'une jeune fille rangée" (1958), which have a warmth and descriptive power. She won the 1954 Prix Goncourt, the 1975 Jerusalem Prize, and the 1978 Austrian State Prize for European Literature. She was also known for her open, lifelong relationship with French philosopher Jean-Paul Sartre.
Early years
Beauvoir was born on 9 January 1908 into a bourgeois Parisian family in the 6th arrondissement. Her parents were Georges Bertrand de Beauvoir, a lawyer, who once aspired to be an actor, and Françoise Beauvoir (née Brasseur), a wealthy banker's daughter and devout Catholic. Simone's sister, Hélène, was born two years later. The family struggled to maintain their bourgeois status after losing much of their fortune shortly after World War I, and Françoise insisted the two daughters be sent to a prestigious convent school.
Beauvoir was intellectually precocious, fueled by her father's encouragement; he reportedly would boast, "Simone thinks like a man!" Because of her family's straitened circumstances, she could no longer rely on her dowry, and like other middle-class girls of her age, her marriage opportunities were put at risk. She took this opportunity to take steps towards earning a living for herself.
She first worked with Maurice Merleau-Ponty and Claude Lévi-Strauss, when all three completed their practice teaching requirements at the same secondary school. Although not officially enrolled, she sat in on courses at the École Normale Supérieure in preparation for the agrégation in philosophy, a highly competitive postgraduate examination which serves as a national ranking of students. It was while studying for it that she met École Normale students Jean-Paul Sartre, Paul Nizan, and René Maheu (who gave her the lasting nickname "Castor", or "beaver"). The jury for the agrégation narrowly awarded Sartre first place instead of Beauvoir, who placed second and, at age 21, was the youngest person ever to pass the exam.
Writing of her youth in Memoirs of a Dutiful Daughter she said:
"...my father's individualism and pagan ethical standards were in complete contrast to the rigidly moral conventionalism of my mother's teaching. This disequilibrium, which made my life a kind of endless disputation, is the main reason why I became an intellectual."
Secondary and post-secondary education
Beauvoir pursued post-secondary education after completing her high school years at Lycée Fenelon. After passing baccalaureate exams in mathematics and philosophy in 1925, she studied mathematics at the Institut Catholique de Paris and literature/languages at the . She then studied philosophy at the Sorbonne and after completing her degree in 1928, wrote her (roughly equivalent to an M.A. thesis) on Leibniz for Léon Brunschvicg (the topic was "Le concept chez Leibniz" ["The Concept in Leibniz"]). Her studies of political philosophy through university influenced her to start thinking of societal concerns rather than her own individual issues.
Religious upbringing
Beauvoir was raised in a strict Catholic household. She had been sent to convent schools as a youth. She was deeply religious as a child, at one point intending to become a nun. At age 14, Beauvoir questioned her faith as she saw many changes in the world after witnessing tragedies throughout her life. She abandoned her faith in her early teens and remained an atheist for the rest of her life. Beauvoir quotes "Faith allows an evasion of those difficulties which the atheist confronts honestly. And to crown all, the believer derives a sense of great superiority from this very cowardice itself."
Middle years
From 1929 until 1943, Beauvoir taught at the lycée level until she could support herself solely on the earnings of her writings. She taught at the (Marseille), the , and the (1936–39).
Beauvoir and Jean-Paul Sartre met during her college years. Intrigued by her determination as an educator, he sought out to make their relationship romantic. However, she had no interest in doing so. During October 1929, Jean-Paul Sartre and Beauvoir became a couple and, after they were confronted by her father, Sartre asked her to marry him on a provisional basis: One day while they were sitting on a bench outside the Louvre, he said, "Let's sign a two-year lease". Though Beauvoir wrote, "Marriage was impossible. I had no dowry", scholars point out that her ideal relationships described in The Second Sex and elsewhere bore little resemblances to the marriage standards of the day. Instead, she and Sartre entered into a lifelong "soul partnership", which was sexual but not exclusive, nor did it involve living together.
Sartre and Beauvoir always read each other's work. Debate continues about the extent to which they influenced each other in their existentialist works, such as Sartre's Being and Nothingness and Beauvoir's She Came to Stay and "Phenomenology and Intent". However, recent studies of Beauvoir's work focus on influences other than Sartre, including Hegel and Leibniz. The Neo-Hegelian revival led by Alexandre Kojève and Jean Hyppolite in the 1930s inspired a whole generation of French thinkers, including Sartre, to discover Hegel's Phenomenology of Spirit. However, Beauvoir, reading Hegel in German during the war, produced an original critique of his dialectic of consciousness.
Personal life
Beauvoir's prominent open relationships at times overshadowed her substantial academic reputation. A scholar lecturing with her chastised their "distinguished [Harvard] audience [because] every question asked about Sartre concerned his work, while all those asked about Beauvoir concerned her personal life." Beginning in 1929, Beauvoir and Sartre were partners and remained so for 51 years, until his death in 1980. She chose never to marry and never had children. This gave her the time to advance her education and engage in political causes, write and teach, and take lovers. She lived with Claude Lanzmann from 1952 to 1959.
Perhaps her most famous lover was American author Nelson Algren, whom she met in Chicago in 1947, and to whom she wrote across the Atlantic as "my beloved husband." Algren won the National Book Award for The Man with the Golden Arm in 1950, and in 1954, Beauvoir won France's most prestigious literary prize for The Mandarins, in which Algren is the character Lewis Brogan. Algren vociferously objected to their intimacy becoming public. Years after they separated, she was buried wearing his gift of a silver ring.
Beauvoir was bisexual, and her relationships with young women were controversial. French author Bianca Lamblin (originally Bianca Bienenfeld) wrote in her book Mémoires d'une Jeune Fille Dérangée (published in English under the title A Disgraceful Affair) that, while a student at Lycée Molière, she was sexually exploited by her teacher Beauvoir, who was in her 30s. Lamblin had affairs with both Jean-Paul Sartre and Beauvoir. In 1943, Beauvoir was suspended from her teaching position when she was accused of seducing her 17-year-old lycée pupil Natalie Sorokine in 1939. Sorokine's parents laid formal charges against Beauvoir for debauching a minor (the age of consent in France at the time was 15), and Beauvoir's license to teach in France was revoked, although it was subsequently reinstated.
In 1977, Beauvoir, Sartre, Roland Barthes, Michel Foucault, Jacques Derrida and much of the era's intelligentsia signed a petition seeking to completely remove the age of consent in France.
Notable works
She Came to Stay
Beauvoir published her first novel She Came to Stay in 1943. It has been assumed that it is inspired by her and Sartre's sexual relationship with Olga Kosakiewicz and Wanda Kosakiewicz. Olga was one of her students in the Rouen secondary school where Beauvoir taught during the early 1930s. She grew fond of Olga. Sartre tried to pursue Olga but she rejected him, so he began a relationship with her sister Wanda. Upon his death, Sartre was still supporting Wanda. He also supported Olga for years, until she met and married Jacques-Laurent Bost, a lover of Beauvoir. However, the main thrust of the novel is philosophical, a scene in which to situate Beauvoir's abiding philosophical pre-occupation - the relationship between the self and the other.
In the novel, set just before the outbreak of World War II, Beauvoir creates one character from the complex relationships of Olga and Wanda. The fictionalised versions of Beauvoir and Sartre have a ménage à trois with the young woman. The novel also delves into Beauvoir and Sartre's complex relationship and how it was affected by the ménage à trois.
She Came to Stay was followed by many others, including The Blood of Others, which explores the nature of individual responsibility, telling a love story between two young French students participating in the Resistance in World War II.
Existentialist ethics
In 1944, Beauvoir wrote her first philosophical essay, Pyrrhus et Cinéas, a discussion on existentialist ethics. She continued her exploration of existentialism through her second essay The Ethics of Ambiguity (1947); it is perhaps the most accessible entry into French existentialism. In the essay, Beauvoir clears up some inconsistencies that many, Sartre included, have found in major existentialist works such as Being and Nothingness. In The Ethics of Ambiguity, Beauvoir confronts the existentialist dilemma of absolute freedom vs. the constraints of circumstance.
Les Temps modernes
At the end of World War II, Beauvoir and Sartre edited Les Temps modernes, a political journal which Sartre founded along with Maurice Merleau-Ponty and others. Beauvoir used Les Temps Modernes to promote her own work and explore her ideas on a small scale before fashioning essays and books. Beauvoir remained an editor until her death.
Sexuality, existentialist feminism and The Second Sex
The Second Sex, first published in 1949 in French as Le Deuxième Sexe, turns the existentialist mantra that existence precedes essence into a feminist one: "One is not born but becomes a woman" (French: "On ne naît pas femme, on le devient"). With this famous phrase, Beauvoir first articulated what has come to be known as the sex-gender distinction, that is, the distinction between biological sex and the social and historical construction of gender and its attendant stereotypes. Beauvoir argues that "the fundamental source of women's oppression is its [femininity's] historical and social construction as the quintessential".
Beauvoir defines women as the "second sex" because women are defined in relation to men. She pointed out that Aristotle argued women are "female by virtue of a certain lack of qualities", while Thomas Aquinas referred to woman as "imperfect man" and the "incidental" being. She quotes "In itself, homosexuality is as limiting as heterosexuality: the ideal should be to be capable of loving a woman or a man; either, a human being, without feeling fear, restraint, or obligation."
Beauvoir asserted that women are as capable of choice as men, and thus can choose to elevate themselves, moving beyond the "immanence" to which they were previously resigned and reaching "transcendence", a position in which one takes responsibility for oneself and the world, where one chooses one's freedom.
Chapters of The Second Sex were originally published in Les Temps modernes, in June 1949. The second volume came a few months after the first in France. It was published soon after in America due to the quick translation by Howard Parshley, as prompted by Blanche Knopf, wife of publisher Alfred A. Knopf. Because Parshley had only a basic familiarity with the French language, and a minimal understanding of philosophy (he was a professor of biology at Smith College), much of Beauvoir's book was mistranslated or inappropriately cut, distorting her intended message. For years, Knopf prevented the introduction of a more accurate retranslation of Beauvoir's work, declining all proposals despite the efforts of existentialist scholars.
Only in 2009 was there a second translation, to mark the 60th anniversary of the original publication. Constance Borde and Sheila Malovany-Chevallier produced the first integral translation in 2010, reinstating a third of the original work.
In the chapter "Woman: Myth and Reality" of The Second Sex, Beauvoir argued that men had made women the "Other" in society by application of a false aura of "mystery" around them. She argued that men used this as an excuse not to understand women or their problems and not to help them, and that this stereotyping was always done in societies by the group higher in the hierarchy to the group lower in the hierarchy. She wrote that a similar kind of oppression by hierarchy also happened in other categories of identity, such as race, class, and religion, but she claimed that it was nowhere more true than with gender in which men stereotyped women and used it as an excuse to organize society into a patriarchy.
Despite her contributions to the feminist movement, especially the French women's liberation movement, and her beliefs in women's economic independence and equal education, Beauvoir was initially reluctant to call herself a feminist. However, after observing the resurgence of the feminist movement in the late 1960s and early 1970s, Beauvoir stated she no longer believed a socialist revolution to be enough to bring about women's liberation. She publicly declared herself a feminist in 1972 in an interview with Le Nouvel Observateur.
In 2018 the manuscript pages of Le Deuxième Sexe were published. At the time her adopted daughter, Sylvie Le Bon-Beauvoir, a philosophy professor, described her mother's writing process: Beauvoir wrote every page of her books longhand first and only after that would hire typists.
The Mandarins
Published in 1954, The Mandarins won her France's highest literary prize, the Prix Goncourt. The book is set after the end of World War II and follows the personal lives of philosophers and friends among Sartre's and Beauvoir's intimate circle, including her relationship with American writer Nelson Algren, to whom the book was dedicated.
Algren was outraged by the frank way Beauvoir described their sexual experiences in both The Mandarins and her autobiographies. Algren vented his outrage when reviewing American translations of Beauvoir's work. Much material bearing on this episode in Beauvoir's life, including her love letters to Algren, entered the public domain only after her death.
Les Inséparables
Beauvoir's early novel Les Inséparables, long suppressed, was published in French in 2020 and in two different English translations in 2021.<ref>Reviewed 23 Aug. 2021 by Merve Emre in The New Yorker" https://www.newyorker.com/magazine/2021/08/30/simone-de-beauvoirs-lost-novel-of-early-love</ref> Written in 1954, the book describes her first love, a classmate named Elisabeth Lacoin ("Zaza") who died before age 22, and had as a teenager a "passionate and tragic" relationship with Beauvoir and Merleau-Ponty, then teaching at the same school. Disapproved by Sartre, the novel was deemed "too intimate" to be published during Beauvoir's lifetime.
Later years
Beauvoir wrote popular travel diaries about time spent in the United States and China and published essays and fiction rigorously, especially throughout the 1950s and 1960s. She published several volumes of short stories, including The Woman Destroyed, which, like some of her other later work, deals with aging.
1980 saw the publication of When Things of the Spirit Come First, a set of short stories centred around and based upon women important to her earlier years. Though written long before the novel She Came to Stay, Beauvoir did not at the time consider the stories worth publishing, allowing some forty years to pass before doing so.
Sartre and Merleau-Ponty had a longstanding feud, which led Merleau-Ponty to leave Les Temps Modernes. Beauvoir sided with Sartre and ceased to associate with Merleau-Ponty. In Beauvoir's later years, she hosted the journal's editorial meetings in her flat and contributed more than Sartre, whom she often had to force to offer his opinions.
Beauvoir also wrote a four-volume autobiography, consisting of: Memoirs of a Dutiful Daughter; The Prime of Life; Force of Circumstance (sometimes published in two volumes in English translation: After the War and Hard Times); and All Said and Done. In 1964 Beauvoir published a novella-length autobiography, A Very Easy Death, covering the time she spent visiting her ageing mother, who was dying of cancer. The novella brings up questions of ethical concerns with truth-telling in doctor-patient relationships.
Her 1970 long essay La Vieillesse (The Coming of Age) is a rare instance of an intellectual meditation on the decline and solitude all humans experience if they do not die before about the age of 60.
In the 1970s Beauvoir became active in France's women's liberation movement. She wrote and signed the Manifesto of the 343 in 1971, a manifesto that included a list of famous women who claimed to have had an abortion, then illegal in France. Some argue most of the women had not had abortions, including Beauvoir. Signatories were diverse as Catherine Deneuve, Delphine Seyrig, and Beauvoir's sister Poupette. In 1974, abortion was legalised in France.
In a 1975 interview with Betty Friedan Beauvoir said "No woman should be authorized to stay at home and raise her children. Society should be totally different. Women should not have that choice, precisely because if there is such a choice, too many women will make that one."
In about 1976 Beauvoir and Sylvie Le Bon made a trip to New York City in the United States to visit Kate Millett on her farm.
In 1981 she wrote La Cérémonie Des Adieux (A Farewell to Sartre), a painful account of Sartre's last years. In the opening of Adieux, Beauvoir notes that it is the only major published work of hers which Sartre did not read before its publication.
She contributed the piece "Feminism – alive, well, and in constant danger" to the 1984 anthology Sisterhood Is Global: The International Women's Movement Anthology, edited by Robin Morgan.
After Sartre died in 1980, Beauvoir published his letters to her with edits to spare the feelings of people in their circle who were still living. After Beauvoir's death, Sartre's adopted daughter and literary heir Arlette Elkaïm would not let many of Sartre's letters be published in unedited form. Most of Sartre's letters available today have Beauvoir's edits, which include a few omissions but mostly the use of pseudonyms. Beauvoir's adopted daughter and literary heir Sylvie Le Bon, unlike Elkaïm, published Beauvoir's unedited letters to both Sartre and Algren.
Beauvoir died of pneumonia on 14 April 1986 in Paris, aged 78. She is buried next to Sartre at the Montparnasse Cemetery in Paris. She was honored as a figure at the forefront of the struggle for women's rights around the time of her passing.
Impact
Simone de Beauvoir's The Second Sex is considered a foundational work in the history of feminism. Beauvoir had denied being a feminist multiple times but ultimately admitted that she was one after the influential Second Sex became crucial in the world of feminism. The work has had a profound influence, opening the way for second wave feminism in the United States, Canada, Australia, and around the world. Despite the fact that Beauvoir has been quoted as saying "There is a certain unreasonable demand that I find a little stupid because it would enclose me, immobilize me completely in a sort of feminist concrete block." Her works on feminism have paved the way for all future feminists. Founders of the second wave read The Second Sex in translation, including Kate Millett, Shulamith Firestone, Juliet Mitchell, Ann Oakley and Germaine Greer. All acknowledged their profound debt to Beauvoir, including visiting her in France, consulting with her at crucial moments, and dedicating works to her. Betty Friedan, whose 1963 book The Feminine Mystique is often regarded as the opening salvo of second wave feminism in the United States, later said that reading The Second Sex in the early 1950s "led me to whatever original analysis of women's existence I have been able to contribute to the Women's movement and to its unique politics. I looked to Simone de Beauvoir for a philosophical and intellectual authority."
At one point in the early seventies, Beauvoir also aligned herself with the League for Woman's rights as a means to campaign and fight against sexism in the French society. Beauvoir's influence goes beyond just her impact on second wave founders, and extends to numerous aspects of feminism, including literary criticism, history, philosophy, theology, criticism of scientific discourse, and psychotherapy. When Beauvoir first became involved with the feminism movement, one of her first objectives was that of legalizing abortion.Donna Haraway wrote that, "despite important differences, all the modern feminist meanings of gender have roots in Simone de Beauvoir's claim that 'one is not born a woman [one becomes one]'". This "most famous feminist sentence ever written" is echoed in the title of Monique Wittig's 1981 essay One Is Not Born a Woman. Judith Butler took the concept a step further, arguing that Beauvoir's choice of the verb to become suggests that gender is a process, constantly being renewed in an ongoing interaction between the surrounding culture and individual choice.
Prizes
Prix Goncourt, 1954
Jerusalem Prize, 1975
Austrian State Prize for European Literature, 1978
Works
List of publications (non-exhaustive)
L'Invitée (1943) (English – She Came to Stay) [novel]
Pyrrhus et Cinéas (1944) [nonfiction]
Le Sang des autres (1945) (English – The Blood of Others) [novel]
Les Bouches inutiles (1945) (English - Who Shall Die?) [drama]
Tous les hommes sont mortels (1946) (English – All Men Are Mortal) [novel]
Pour une morale de l'ambiguïté (1947) (English – The Ethics of Ambiguity) [nonfiction]
"America Day by Day" (1948) (English – 1999 – Carol Cosman (Translator and Douglas Brinkley (Foreword) [nonfiction]
Le Deuxième Sexe (1949) (English – The Second Sex) [nonfiction]
L'Amérique au jour le jour (1954) (English – America Day by Day)
Les Mandarins (1954) (English – The Mandarins) [novel]
Must We Burn Sade? (1955)
The Long March (1957) [nonfiction]
Memoirs of a Dutiful Daughter (1958)
The Prime of Life (1960)
Force of Circumstance (1963)
A Very Easy Death (1964)
Les Belles Images (1966) [novel]
The Woman Destroyed (1967) [short stories]
The Coming of Age (1970) [nonfiction]
All Said and Done (1972)
Old Age (1972) [nonfiction]
When Things of the Spirit Come First (1979) [novel]
Adieux: A Farewell to Sartre (1981)
Letters to Sartre (1990)
Journal de guerre, Sept 1939 – Jan 1941 (1990); English – Wartime Diary (2009)
A Transatlantic Love Affair: Letters to Nelson Algren (1998)
Diary of a Philosophy Student, 1926–27 (2006)
Cahiers de jeunesse, 1926–1930 (2008)
Selected translations
Patrick O'Brian was Beauvoir's principal English translator, until he attained commercial success as a novelist.
Philosophical Writings (Urbana : University of Illinois Press, 2004, edited by Margaret A. Simons et al.) contains a selection of essays by Beauvoir translated for the first time into English. Among those are: Pyrrhus and Cineas, discussing the futility or utility of action, two previously unpublished chapters from her novel She Came to Stay and an introduction to Ethics of Ambiguity.
See also
Art Shay
Roman à clef
Simone Weil
List of women's rights activists
Place Jean-Paul-Sartre-et-Simone-de-Beauvoir
References
Sources
Appignanesi, Lisa, 2005, Simone de Beauvoir, London: Haus,
Bair, Deirdre, 1990. Simone de Beauvoir: A Biography. New York: Summit Books,
Rowley, Hazel, 2005. Tête-a-Tête: Simone de Beauvoir and Jean-Paul Sartre. New York: HarperCollins.
Suzanne Lilar, 1969. Le Malentendu du Deuxième Sexe (with collaboration of Prof. Dreyfus). Paris, University Presses of France (Presses Universitaires de France).
Fraser, M., 1999. Identity Without Selfhood: Simone de Beauvoir and Bisexuality, Cambridge and New York: Cambridge University Press.
Axel Madsen, Hearts and Minds: The Common Journey of Simone de Beauvoir and Jean-Paul Sartre, William Morrow & Co, 1977.
Hélène Rouch, 2001–2002, Trois conceptions du sexe: Simone de Beauvoir entre Adrienne Sahuqué et Suzanne Lilar, Simone de Beauvoir Studies, n° 18, pp. 49–60.
Simone de Beauvoir, Marguerite Yourcenar, Nathalie Sarraute, 2002. Conférence Élisabeth Badinter, Jacques Lassalle & Lucette Finas, .
Further reading
Le Malentendu du Deuxième Sexe by Suzanne Lilar, 1969.
Feminist Theory and Simone de Beauvoir by Toril Moi, 1990.
Appignanesi, Lisa. Simone de Beauvoir. London: Penguin. 1988. .
Bair, Deirdre. Simone de Beauvoir: A Biography. New York: Summit Books. 1990. .
Francis, Claude. Simone de Beauvoir: A Life, A Love Story. Lisa Nesselson (Translator). New York: St. Martin's, 1987. .
Okely, Judith. Simone de Beauvoir. New York: Pantheon. 1986. .
External links
Guardian Books "Author Page", with profile and links to further articles.
Victoria Brittain et al discuss Simone de Beauvoir's lasting influence, ICA 1989
"Simone de Beauvoir", Great Lives, BBC Radio 4, 22 April 2011
Kate Kirkpatrick. (6 November 2017) "What is authentic love? A View from Simone de Beauvoir" . IAI News''.
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"\"Nothing\" is a song recorded by American singer-songwriter Janet Jackson. It was released on March 23, 2010 by A&M Records and So So Def Recordings as a soundtrack single from the film Why Did I Get Married Too?, which starred Jackson. The song was later included on Jackson's compilation album Icon: Number Ones. It was written by Jackson, Johntá Austin, Bryan-Michael Cox and Jermaine Dupri and produced by Jackson, Cox, and Dupri. Initially titled \"Trust in Me\", the song was written about the different character's personas and emotions in the film.\n\n\"Nothing\" received mostly positive reviews from music critics, who praised it as \"classic pop\", and noted that it was possibly influenced by her brother Michael Jackson's recent death. Despite the fact that it was not officially released to radio formats for airplay, the song managed to achieve moderate rotation on adult contemporary and jazz formats. A music video for the song was directed by Tim Palen and premiered in April 2010. Jackson performed \"Nothing\" on the ninth season finale of American Idol and on the Essence Music Festival, which Jackson headlined.\n\nBackground\n\n\"Nothing\" was composed by Janet Jackson, Johntá Austin, Bryan-Michael Cox and Jermaine Dupri and produced by Jackson, Cox, and Dupri. It was released on March 30, 2010 as the theme for Why Did I Get Married Too?, which starred Jackson. It was released as a stand-alone single in addition to appearing on the Why Did I Get Married Too? soundtrack, and was later included on Jackson's Icon: Number Ones compilation. \"Nothing\" was strongly considered for a nomination for \"Best Original Song\" at the 83rd Academy Awards, but ultimately was not nominated.\n\nOn February 11, 2010 Jackson revealed the song's title on her official Twitter account. Janet's official site announced \"Janet composed 'Nothing' as an emotional ballad that reflects and supports the powerful themes of the film..[&] evokes the emotional turmoil the Why Did I Get Married Too? characters experience throughout the film.\" Initially titled \"Trust in Me\", Jackson spoke to The LA Times about the song, stating \"Even though it sounds like a sad song, it's hopeful. When you really listen to it, it's really hopeful.\" When asked why she felt the song resonated with so many fans, Janet replied that she felt the song helped people relate to the characters in the movie.\n\nMusic supervisor Joel C. High, who recruited artists to appear on the film's soundtrack, commented \"we were lucky to have Janet involved, especially at a time where she was going through a lot. We were basically finished with the picture when she told Tyler she wanted to write something. It's a strong love song [...] and is our big end title finish.\" Co-producer Jermaine Dupri also spoke about the song, revealing \"We had to do this record in like three days to get it into this movie – it was a last minute thing that her and Tyler [Perry] talked about.\" Dupri also added \"You haven't heard Janet sound like this in a long time and I think the song is perfect for the movie. It's a really good record.\"\n\nPromotion\nTo promote the song and film, Janet held a contest on her official website titled \"Janet's Everything for Nothing Experience\", which allowed the winner to receive a personally autographed copy of her Number Ones compilation, with the grand-prize winner receiving an autographed Why Did I Get Married Too? poster. Expressing gratitude to her fans, Jackson tweeted \"Thank u for all the love on 'Nothing.' I hope u will enjoy Why Did I Get Married Too this week!\"\n\nCritical reception\n\nMTV qualified \"Nothing\" as having \"waves of heartfelt emotion\" and \"mournful beauty\". Rolling Stone described the track as \"classic pop,\" adding that the lyrics reflect the tensions and turmoil between the film characters. Cristen Maher from AOL Music's The Boombox called the song \"an uplifting ballad...about the ups and downs that occur when two people are in love. The overall message is that when it comes to love, nothing can stand in the way of making things right.\" Maher adds \"Jackson — who is still coping with the loss of her brother Michael — drew inspiration from her grief for her theatrical performance...transferring her sorrow beautifully into a moving and deeply heartfelt ballad.\"\n\nIdolator stated that the song \"reminds us that, despite all the overproduction and sexed-up whispering on her last few singles, Janet can actually still deliver solid vocals—something that was hardly apparent on “We Are The World 25\". Entertainment Weekly described the song as an \"airy ballad, on which she cries out for more communication in a troubled relationship.\" Deborah Vankin of The Los Angeles Times called it \"a touching, melodic ballad about truth, trust and relationships\", adding that the song is \"generating almost as much Oscar buzz as it feels riddled with grief [...] Even though Jackson says \"Nothing\" is not about her brother, whom she won't talk about much these days, the song's melancholy and emotional grit leads one to wonder. It's no stretch to think that Jackson, who's known for having a particularly strong work ethic and occasionally losing herself in creative projects during turbulent times, was channeling the fallout of her personal tragedy into her music.\"\n\nMusic video\nJackson shot the music video for \"Nothing\" on March 24, 2010, with it being premiered the following week on AOL Music. The video was directed by Tim Palen, photographer and co-President of Theatrical Marketing at Lions Gate Entertainment, the company that released Why Did I Get Married Too?. The video features several shots of Jackson in mirror-like projections accompanied by powerful and passionate clips from the film. Internationally, the video was released to music channels on July 19. A behind the scenes segment on the filming of the video was shown on TV Guide Network's Hollywood 411. The \"Nothing\" music video was included in the \"Special Features\" segment of the Why Did I Get Married Too? Blu-ray and DVD.\n\nAOL Music's The Boombox commented \"the superstar’s newest video for ‘Nothing’ encompasses the message of the song, with a stark blackness acting as a backdrop to Jackson's emotional release.\" Idolator called the video \"heavy on the singing, light on the Nasty\", noting the stripped down approach of the clip was \"hardly a tour de force\".\n\nLive performances\nJackson made a surprise appearance on the ninth season finale of American Idol to perform a medley of \"Nothing\" and \"Nasty\" after joining the contestants to perform a rendition of her hit ballad \"Again\". MTV expressed that Jackson provided the audience with waves of heartfelt emotion as she sang \"Nothing\". Zap2it stated that the performance of \"Nothing\" was moving. Neon Limelight stated that Jackson \"brought the crowd to its feet.\n\nThe song was also performed at the Essence Music Festival, which Jackson headlined, with the performance from the event broadcast on TV One. \"Nothing\" was later included on the setlist of Jackson's Number Ones, Up Close and Personal tour in 2011. The song was performed after a video interlude displaying scenes from Jackson's various acting roles, including Poetic Justice, Why Did I Get Married Too?, and Good Times. MuuMuse commented on the tour's performance, saying \"Perched on top of a stool, Jackson delivered a 1-2-3 punch of some of her biggest ballads–including 'Again,' 'Let's Wait Awhile,' and her latest offering, 'Nothing'–as the crowd lovingly swayed and sang along.\"\n\nTrack listing\n'''Digital single / promotional CD single (SSD 2631)\n\"Nothing\" – 3:25\n\nCharts\n\nReferences\n\n2010 singles\n2010s ballads\nJanet Jackson songs\nPop ballads\nSong recordings produced by Jermaine Dupri\nSongs written for films\nSongs written by Bryan-Michael Cox\nSongs written by Janet Jackson\nSongs written by Jermaine Dupri\nSongs written by Johntá Austin\n2010 songs\nSong recordings produced by Bryan-Michael Cox",
"Sharon Ann Leal (born October 17, 1972) is an American actress and singer. She is known for her roles in movies such as Dreamgirls, This Christmas, Why Did I Get Married?, Why Did I Get Married Too? and her roles on the television shows Legacy, Guiding Light, and Boston Public.\n\nEarly life\nLeal was born in Tucson, Arizona. Her mother, Angelita, is Filipina. Her father was an African-American military policeman who broke up with her mother before Sharon was born. Shortly after, her mother married Jesse Leal, a Master Sergeant in the United States Air Force and a police officer at Clark Air Base, Philippines; he legally adopted Sharon.\n\nCareer\nLeal's career began with the role of Dahlia Crede in the CBS daytime serial Guiding Light. Later, she joined the Broadway company of Rent. Soon after, she was cast as Mimi for the San Francisco leg of the first national tour of Rent. Leal also appeared on the 1999 original cast recording of the Off-Broadway musical Bright Lights, Big City alongside Patrick Wilson and Jesse L. Martin. She also appeared on the 2001 cast recording of Making Tracks.\n\nFrom 2000 to 2004, Leal starred in the Fox prime time TV series Boston Public. Leal also had a role in the theatrical release Face the Music. She also appeared in a recurring role in the short-lived NBC series LAX, as the wife of airport co-director, Roger de Souza.\n\nShe also co-starred in the film adaptation of the Broadway musical Dreamgirls as Michelle Morris, Effie White's replacement in the pop group The Dreams, with Beyoncé Knowles, Jennifer Hudson, Eddie Murphy and Jamie Foxx. In 2007 Leal also starred in This Christmas and in the Tyler Perry production Why Did I Get Married?. She played the character Vanessa Lodge in the series Hellcats, until it was cancelled in 2011. Leal played the supporting role in the movie 1982. A story of a drug addicted mother and a father's fight to protect his daughter.\n\nLeal appears in seasons 2, 3, 5 and 6 of Supergirl as M'gann M'orzz (Megan in human form).\n\nPersonal life\nIn October 2001, Leal married Bev Land. Their son Kai Miles Land was born in September 2001. The couple divorced in 2009.\n\nIn 2009, Leal posed nude for the May issue of Allure magazine - alongside Padma Lakshmi, Lynn Collins, Chelsea Handler, and Eliza Dushku.\n\nFormer Guiding Light co-star Yvonna Wright has said that she and Leal are close friends; the two starred together in a community production of Dreamgirls in their hometown.\n\nFilmography\n\nFilms\n\nTelevision\n\nReferences\n\nExternal links\n\n1972 births\nActresses from Arizona\nAfrican-American actresses\nAmerican adoptees\nAmerican film actresses\nAmerican soap opera actresses\nAmerican actresses of Filipino descent\nActresses from Tucson, Arizona\nLiving people\n20th-century American actresses\n21st-century American actresses\n20th-century African-American women\n20th-century African-American people\n21st-century African-American women\n21st-century African-American people"
] |
[
"Rick Barry",
"Oakland Oaks"
] |
C_8f7fac246686419095d0aa03c67dc933_0
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when did he join oakland
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when did Rick Barry join oakland
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Rick Barry
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After the 1966-67 season, Barry became one of the first NBA players to jump to the American Basketball Association when he signed with the Oakland Oaks. In the ABA's first season, the Oaks were the only ABA team located in the same market as an NBA team (the Warriors). The Warriors went to court and prevented Barry from playing for the Oaks during the 1967-68 season. Barry instead worked on Oaks radio broadcasts during the ABA's first season. During the 1968-69 season Barry suited up for the Oaks and averaged 34 points per game. He also led the ABA in free throw percentage for the season (a feat he repeated in the 1970-71 and 1971-72 seasons). However, on December 27, 1968, late in a game against the New York Nets, Barry and Kenny Wilburn collided and Barry tore ligaments in his knee. He tried to play again in January but only aggravated the injury and sat out the rest of the season, only appearing in 35 games as a result. Despite the injury Barry was named to the ABA All-Star team. The Oaks finished with a record of 60-18, winning the Western Division by 14 games over the second place New Orleans Buccaneers. In the 1969 ABA Playoffs the Oaks defeated the Denver Rockets in a seven-game series and then defeated New Orleans in the Western Division finals. In the finals the Oaks defeated the Indiana Pacers 4 games to 1 to win the 1969 ABA Championship. The Oaks' on-court success had not translated into solid attendance. The team averaged 2,800 fans per game. Instead of remaining in Oakland for another season to see if the championship would draw fans, the team was sold by owner Pat Boone and relocated to Washington, D.C. for the 1969-70 season. CANNOTANSWER
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After the 1966-67 season,
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Richard Francis Dennis Barry III (born March 28, 1944) is an American retired professional basketball player who played in both the American Basketball Association (ABA) and National Basketball Association (NBA). Named one of the 50 Greatest Players in history in 1996 and 75 Greatest Players in history in 2021, each in a league-wide vote of media, analysts, current and former players and team executives, Barry ranks among the most prolific scorers and all-around players in basketball history. He is the only one to lead the National Collegiate Athletic Association (NCAA), ABA, and NBA in points per game in a season. He ranks as the all-time ABA scoring leader in regular season (30.5 points per game) and postseason (33.5) play, while his 36.3 points per game are the most in the NBA Finals history. Barry also is the only player to reach the 50-point mark in a Game 7 of the playoffs in either league. He is one of only four players to be a part of a championship team in both leagues.
Barry is widely known for his unorthodox but extraordinarily effective underhand free throw technique. His career .880 free throw percentage ranks No. 1 in ABA history, and at the time of his retirement in 1980, his .900 percentage was the best of any NBA player. In 1987, he was inducted into the Naismith Memorial Basketball Hall of Fame. In October 2021, Barry was honored as one of the league's greatest players of all-time by being named to the NBA 75th Anniversary Team.
Barry is the father of former professional basketball players Brent Barry, Jon Barry, Drew Barry, and Scooter Barry, and current professional player Canyon Barry. His wife, Lynn Norenberg Barry, was a star basketball player at the College of William & Mary, where she became the first female athlete to have her jersey number (22) retired.
Early years and college career
Barry grew up in Roselle Park, New Jersey, where baseball was his best sport as a youth. He grew up a fan of local New York Giants star Willie Mays, who wore jersey number 24, and Barry would wear the same number in tribute to the outfielder throughout his basketball career. In 1962, Barry graduated from Roselle Park High School.
Barry decided to attend the University of Miami, largely because the Hurricanes adhered to an up-tempo, pro-style system under head coach Bruce Hale that was conducive to his skills and athleticism. It was there that the three-time All-American met his future wife Pamela, who was the daughter of the head coach. As a senior, Barry led the NCAA with a 37.4 points per game average in the 1964–65 campaign. He and his teammates did not take part in the NCAA Tournament, however, because the Hurricanes basketball program was on probation at the time.
Barry was drafted by the San Francisco Warriors with the second pick of the 1965 NBA draft. He had hoped to be selected by the New York Knicks, his hometown team, but they opted for local Princeton star Bill Bradley in round one instead. It was a slight that Barry would not soon forget. In his second visit to Madison Square Garden as a pro, he went off for 57 points versus the Knicks, including 21 free throws in 22 attempts. He also grabbed 15 rebounds in the 141–137 loss.
Professional playing career
San Francisco Warriors
In Barry's first season in the NBA with the Warriors, the team made a quantum leap from 17 to 35 victories and were in playoff contention until the final game of the regular season. In the All-Star Game one season later, Barry erupted for 38 points as the West team stunned the East team, which featured Wilt Chamberlain, Oscar Robertson, Bill Russell and head coach Red Auerbach among other all-time greats. Later that season, Barry and company extended the mighty Philadelphia 76ers to six highly competitive games in the NBA Finals, something that Russell and the Boston Celtics could not do in the Eastern Conference playoffs.
Nicknamed the "Miami Greyhound" by longtime San Francisco Bay Area broadcaster Bill King because of his long and slender physical build, whippet-like quickness and remarkable instincts, the Barry won the NBA Rookie of the Year Award after averaging 25.7 points and 10.6 rebounds per game in the 1965–66 season. The following year, he won the 1967 NBA All-Star Game MVP award with a 38-point outburst and led the NBA in scoring with a 35.6 point per game average — which still ranks as the eighth-highest output in league annals.
Along with All-Star center Nate Thurmond, Barry carried the Warriors to the 1967 NBA Finals, which they lost to the Philadelphia 76ers in six games. Despite an injured left knee that required cortisone shots on game days, Barry averaged 40.8 points per game in the series, an NBA Finals record that stood for three decades. "The guy was so good that we had to have three different guys guard him at different times," Chamberlain said. "'Cause he would run them all ragged."
Joining the ABA
At odds with Warriors owner Franklin Mieuli over unpaid incentive monies due him, Barry shocked the basketball world when he jumped to the ABA's Oakland Oaks, who overwhelmed him with a historic contract offer. Barry became the first marquee NBA player to jump to the rival league. Not only was the three-year agreement worth a reported $500,000, which would make him one of basketball's highest-paid players, it afforded him the opportunity to play for his former college coach Bruce Hale, who was also his father-in-law. In addition, Barry received 15 percent ownership in the franchise as well as 5 percent of all ticket sales in excess of $600,000 for home games. The ground-breaking deal led him to remark, "The offer Oakland made me was one I simply couldn't turn down."
The courts ordered Barry to sit out the 1967–68 season for the Oaks, upholding the validity of the reserve clause in his contract. At the time, all NBA teams had one-year options on player contracts, however, and the Warriors were quick to exercise theirs. He preceded St. Louis Cardinals' outfielder Curt Flood, whose better-known challenge to the reserve clause went all the way to the U.S. Supreme Court, by two years as the first American major-league professional athlete to bring a court action against it. The ensuing negative publicity cast Barry in a negative light, portraying him as selfish and money hungry. He was hardly alone in his vision, however, as numerous NBA players also saw the rival league as a rare opportunity to enhance their careers.
Oakland Oaks
The Oaks finished 22–56 in their ABA debut, which Barry spent as part of their broadcast team. Prior to the 1968–69 season, they hired his former San Francisco Warriors coach Alex Hannum to replace Hale, who moved to a front office position. If there was any question about whether Barry would remain the most dominant player in professional basketball, he quickly answered it. In his ABA debut, he averaged a league-high 34.0 points per game and the Oaks became the first West Coast team to capture a league championship in professional basketball history. Barry also paced the league in free-throw percentage in the regular season, a feat he would repeat in the 1970–71 and 1971–72 seasons.
Barry had his season come to an abrupt halt on December 27, 1968, when late in a game against the New York Nets, he was blindsided by Ken Wilburn on a drive to the basket and tore left knee ligaments on the play. He attempted to come back in January 1969, only to aggravate the injury and sit out the remainder of the season. He took part in only 35 games but still was named to the ABA All-Star team.
Even without the arguably the best all-around player in basketball, the Oaks barely skipped a beat. They finished with a 60–18 record under Hannum, dominating the Western Division by 14 games over the second-place New Orleans Buccaneers. In the 1969 ABA Playoffs, the Oaks ousted the Denver Rockets in a seven-game series then swept the Buccaneers in the Western Division finals. In the championship round, they made short work of the Indiana Pacers, 4–1, to capture the league title.
In lieu of a parade in downtown Oakland, a modest victory celebration was held at a restaurant in Jack London Square. It was there that Barry announced, "I see no hope for the rest of the teams in the league."
Washington Caps
Despite their on-court excellence, the Oaks were a disappointment at the gate, partly because of Barry's absence in the final five months of the season, partly because they were the only ABA member that competed in the same market as an NBA team, that being the more established Warriors across the bay. They averaged just 2,800 fans per home game at the state-of-the-art Oakland County Coliseum Arena, slightly more than the league average. By that time, entertainer-business entrepreneur Pat Boone had become the majority team owner, and after more than $2 million in losses over two seasons, he wanted out of the basketball business. In August 1968, the franchise was sold to a group headed by real estate attorney and former Baltimore Bullets owner Earl Foreman, who immediately moved it to Washington, D.C., even though there was no suitable arena in the vicinity at the time.
Reluctantly, Barry played the 1969–70 season with the ABA's Washington Caps. He refused to report to the team at the outset, at one point commenting, "If I wanted to go to Washington, I'd run for president!" He missed the first 32 games before he joined the team, which played in the Western Division, making for a grueling travel schedule. The Caps still managed to finish with a respectable 44–40 record, good for third place in the Western Division. Appearing in only 52 games because of a knee injury, Barry finished the season with 1,442 points (27.7 per game), second-best in the league. The Denver Rockets edged the Caps, 4–3, in the Western Division semifinals. In Game 7 on the road, Barry went off for 52 points, the most scored in a seventh and deciding game in professional basketball history.
Virginia Squires
The Washington Caps became the Virginia Squires after the 1969–70 season, but Barry was openly despondent about playing in Virginia. At the same time, he wanted to continue playing in the ABA. Featured on the August 24, 1970, cover of Sports Illustrated in a Squires jersey, he indicated that he would not return to the NBA if the league paid him "a million dollars a year." He denounced the Squires (and, subsequently, never suited up for them), saying he did not want his kids growing up with a Southern accent. On September 1, 1970, the Squires traded Barry to the New York Nets for a draft pick and $200,000. The negative comments were not the primary reason; rather, Squires owner Earl Foreman was mired in financial troubles and sold Barry to help meet expenses.
New York Nets
After the Squires dealt Barry to the New York Nets, he played in only 59 games in the 1970–71 season because of a knee injury but still made the ABA All Star team. He repeated as an ABA All Star during the 1971–72 season. During the 1970–71 season he led the league in scoring (29.4 points per game) and led the league again in 1971–72 with 31.5 points per game. In both of those years he also led the ABA in free throw percentage as he had in 1968–69. Barry also became the ABA record holder for most consecutive free throws in one game with 23.
In the 1970–71 season, the Nets finished 40–44, good for fourth place in the Eastern Division and a place in the 1971 ABA Playoffs. The Virginia Squires defeated the Nets 4 games to 2 in the Eastern Division semifinals. The 1971–72 Nets finished the season at 44–40, making the 1972 ABA Playoffs by claiming third place in the Eastern Division, 24 games behind the 68–16 Kentucky Colonels. In the Eastern Division semifinals the Nets shocked the ABA by defeating the Colonels 4 games to 2. The Nets then eked out a 4–3 game victory over the Virginia Squires in the Eastern Division finals. The Nets were then edged by the Western Division champion Indiana Pacers, 4 games to 2, in the 1972 ABA Finals.
On June 23, 1972, a United States District Court judge issued a preliminary injunction to prohibit Barry from playing for any team other than the Golden State Warriors after his contract with the Nets ended. On October 6, 1972, the Nets released Barry and he returned to the Warriors.
Golden State Warriors
Upon Barry's return to the Warriors and the NBA, the cumulative effects of knee problems were taking their toll. Barry gradually moved his game away from the basket, where he became the first so-called point forward in league history. That is, Barry took on a role similar to that of a point guard and became the chief facilitator of the offense. While his offensive forays were not as frequent as in the past, he remained an elite scorer as evidenced by his performance on March 26, 1974, when he went off for a career-high 64 points and grabbed 10 rebounds in a 143–120 win over the visiting Portland Trail Blazers.
In 1974–75, the Warriors had a Cinderella season for the ages. The turnaround began in training camp, when Barry was elected captain by his teammates. They went on to capture the Pacific Division crown as Barry responded with the best all-around season of his career. Not only did he average 30.6 points per game, but he also led the league in free throw percentage (.904) and steals per game (2.9) and ranked sixth in assists per game (6.2), the only forward among the top 10 in the category.
In the playoffs, the upstart Warriors turned back the Seattle SuperSonics and Chicago Bulls to capture the Western Conference crown. In the NBA Finals, they shocked the basketball world with a historic four-game sweep of Elvin Hayes, Wes Unseld and the Washington Bullets, widely considered to be the greatest postseason upset in NBA history. The Bullets had posted a league-high 60 victories, 12 more than the Warriors total in the regular season, which led many experts to predict that they would win the series easily. Barry was named NBA Finals Most Valuable Player on the strength of 29.5 points, 5.0 assists and 3.5 steals per game, not to mention his profound impact in a leadership role.
In the 1975 NBA draft, the Warriors selected point guard Gus Williams in the first round. While Williams made immediate contributions off the bench, off guard Phil Smith came into his own in his second season. Barry was not required to carry the team as often, and his scoring average dipped to 21.0 points per game as a result. As the deepest and most athletic team in professional basketball, the Warriors repeated as Pacific Division champions, this time with a league-best 59–23 record. They entered the playoffs as clear-cut favorites to return to the NBA Finals.
After an unusual 10-day layoff, partly to accommodate network television, the Warriors eliminated the Detroit Pistons in round one then were upset in the Western Conference finals by the Phoenix Suns in seven games. The final contest was marred by a fight between Barry and Suns rookie Ricky Sobers away from the ball in the first quarter, during which none of the Warriors came to his aid at the opposite side of the court. Suns broadcaster Al McCoy concocted a narrative that Barry quit in the second half, a charge that lacked tangible evidence and he steadfastly denied. In fact, Barry led his team in points and shot attempts that game. Rather, he said his intent was to get more teammates involved in the third quarter, the game plan that had allowed them to dominate in the regular season.
In the 1976–77 campaign, the Warriors won 46 games the next season with Barry, Smith, and Williams sharing scoring and ball-handling, but were ousted in the second round by the Los Angeles Lakers. Reportedly, Barry and Williams clashed over the ball-handling role, and Williams was traded after the season to the Seattle SuperSonics. Barry averaged 23.1 points per game in his farewell season (1977–78) with the Warriors, but the team failed to make the playoffs.
Houston Rockets
Barry finished his career with the Houston Rockets, playing through the 1979–80 NBA season. The Rockets signed him as a free agent in June, 1978, and the league awarded veteran guard John Lucas to the Warriors as compensation.
In the twilight of his career, Barry continued to make history. In his Rockets debut, he assumed a new role as the first player off the bench. It was not long before he elevated the point forward position to another level. Barry finished with a career-high 502 assists to become the first true small forward to reach the 500 mark in one season. Until then, swingman John Havlicek had been the only forward with as many as 500 assists in a season, but the Boston Celtics swingman also spent considerable time at the off guard spot. Barry averaged 13.5 points per game and established a new NBA record (since broken) with a .947 free throw percentage.
Barry was less of a factor in his final season. The Rockets were swept by the Celtics in the 1980 Eastern Conference semifinals, and when contract talks with Boston and the Seattle SuperSonics failed to produce a contract, he decided to retire.
NBA career statistics
Regular season
|-
| style="text-align:left;"|
| style="text-align:left;"|San Francisco
| style="background:#cfecec;"|80* || || 37.4 || .439 || || .862 || 10.6 || 2.2 || || || 25.7
|-
| style="text-align:left;"|
| style="text-align:left;"|San Francisco
| 78 || || 40.7 || .451 || || .884 || 9.2 || 3.6 || || || style="background:#cfecec;"|35.6*
|-
| style="text-align:left;"|
| style="text-align:left;"|Golden State
| style="background:#cfecec;"|82* || || 37.5 || .452 || || style="background:#cfecec;"|.902* || 8.9 || 4.9 || || || 22.3
|-
| style="text-align:left;"|
| style="text-align:left;"|Golden State
| 80 || || 36.5 || .456 || || .899 || 6.8 || 6.1 || 2.1 || 0.5 || 25.1
|-
| style="text-align:left; background:#afe6ba;"|†
| style="text-align:left;"|Golden State
| 80 || || 40.4 || .464 || || style="background:#cfecec;"|.904* || 5.7 || 6.2 || style="background:#cfecec;"|2.9* || 0.4 || 30.6
|-
| style="text-align:left;"|
| style="text-align:left;"|Golden State
| 81 || || 38.5 || .435 || || style="background:#cfecec;"|.923* || 6.1 || 6.1 || 2.5 || 0.3 || 21.0
|-
| style="text-align:left;"|
| style="text-align:left;"|Golden State
| 79 || || 36.8 || .440 || || .916 || 5.3 || 6.0 || 2.2 || 0.7 || 21.8
|-
| style="text-align:left;"|
| style="text-align:left;"|Golden State
| 82 || || 36.9 || .451 || || style="background:#cfecec;"|.924* || 5.5 || 5.4 || 1.9 || 0.5 || 23.1
|-
| style="text-align:left;"|
| style="text-align:left;"|Houston
| 80 || || 32.1 || .461 || || style="background:#cfecec;"|.947* || 3.5 || 6.3 || 1.2 || 0.5 || 13.5
|-
| style="text-align:left;"|
| style="text-align:left;"|Houston
| 72 || || 25.2 || .422 || .330 || style="background:#cfecec;"|.935* || 3.3 || 3.7 || 1.1 || 0.4 || 12.0
|- class=sortbottom
| style="text-align:center;" colspan="2"|Career
| 794 || || 36.3 || .449 || .330 || .900 || 6.5 || 5.1 || 2.0 || 0.5 || 23.2
Later years
During the 1990s, he coached the Cedar Rapids Sharpshooters of the Global Basketball Association and the Continental Basketball Association, guiding the Fort Wayne Fury to a 19–37 win-loss record in 1993–94. In 1998 and 1999, he served as head coach of the New Jersey ShoreCats of the United States Basketball League. Former Warriors teammate Clifford Ray was his top assistant.
Barry finished second in his division at the 2005 World Long Drive Championship.
Barry is part owner and promoter for the Ektio basketball shoe, which doctor and former college basketball player Barry Katz designed to reduce ankle injuries. He also serves on the company's Board of Directors.
Broadcasting career
Barry was among the first professional basketball players to make a successful transition to the broadcasting profession. He began broadcasting during the 1967–68 season broadcasting Oakland Oaks games because of contractual matters that kept him off the court. Barry continues to work in the field, a career that began with his own radio show in San Francisco and CBS while still an active player and then with TBS.
While working as a CBS analyst during Game 5 of the 1981 NBA Finals, Barry made a controversial comment when CBS displayed an old photo of colleague Bill Russell, who is African-American. He tried to joke that "it looks like some fool over there with that big watermelon grin". Barry later apologized for the comment, claiming that he did not realize that a reference to watermelons had racial overtones. Russell said that he believed Barry with regard to Barry's racial attitudes, but nonetheless, the two men are reported not to have been particularly friendly for other reasons, unrelated to that comment.
CBS did not renew Barry's employment for the subsequent season. Producers later cited the general negative tone of his game commentary, which did not sit well with some players and agents around the league. The next season Barry filled in on a few Seattle SuperSonics broadcasts, but a plan for a full-time position fell through when he insisted that his then-wife be allowed to join him when the team was on the road, which would have been contrary to team policy. The next year, Barry was featured in a lengthy Sports Illustrated article written by Tony Kornheiser in which he lamented the failure of his broadcasting career to that point, as well as the fact that he'd left a reputation within NBA circles for being an unlikeable person. After this, Barry worked with TBS and later on, TNT into the 1989–90 season, mostly as a color analyst but sometimes as a play-by-play announcer paired with Bill Russell. One of the more notable games Barry called as play-by-play announcer on TBS was Game 5 of the 1985 Eastern Conference Finals between the Boston Celtics and the Philadelphia 76ers, where Larry Bird made a last-second steal which sealed the win and the Eastern Conference Championship for the Celtics. After the 1989–90 season, Barry became the color analyst for the Atlanta Hawks' games that aired on TBS, paired with Skip Caray.
In a rare non-sports venture, he hosted the pilot for the mid-1980s game show Catchphrase; however, when the series debuted in the fall of 1985, game show veteran Art James replaced him (the series itself was short-lived in the US, but was brought over to the UK and is still running).
In September 2001, Barry began hosting a sports talk show on KNBR in San Francisco until June 2003, when KNBR paired him up with Rod Brooks to co-host a show named Rick and Rod. The show aired on KNBR until August 2006, when Barry left the station abruptly for reasons not disclosed to the public.
Personal life
Barry is of Irish, English, French, and Lithuanian descent. He was a member of the Kappa Sigma fraternity. He resides in Colorado Springs, Colorado with his wife, Lynn Norenberg Barry. While their youngest son, Canyon, played basketball for The University of Florida, to watch him play, they rented a condominium in Gainesville, Florida.
He has four sons and a daughter with his first wife Pam: Scooter, Jon, Brent, Drew and Shannon. All of Barry's sons were professional basketball players. Barry wrote an autobiography, Confessions of a Basketball Gypsy: The Rick Barry Story with Bill Libby that was published in 1972. He also has a son, Canyon, with his third wife, Lynn Barry, who is a professional player, playing for Chinese club Hunan Jinjian Miye in the 2018–19 season.
When his son Brent won the NBA Championship in 2005 with the San Antonio Spurs, Rick and Brent became the second father-son duo to both win NBA Championships as players, following Matt Guokas Sr. and Matt Guokas Jr. Later, this would be repeated by Bill and Luke Walton, and Mychal and Klay Thompson.
Jon and Brent have also moved to broadcasting after retirement. Jon serves as a game analyst on ESPN while Brent worked as a studio and game analyst on TNT and NBA TV until 2018 when he took a job with the San Antonio Spurs to be vice president of basketball operations.
Scooter won titles in the CBA and the top Belgian League.
Career achievements
Roselle Park High School – Roselle Park, New Jersey (1957–1961)
Two-time All-State selection
University of Miami (1961–1965)
Associated Press First-Team All-America (1965)
The Sporting News All-America Second Team (1965)
Consensus All-America (1965)
Led the nation in scoring (37.4 ppg) as a senior
NBA San Francisco Warriors (1965–1967)
NBA Rookie of the Year (1966)
NBA All-Rookie First Team (1966)
NBA leading scorer in 1967 (35.6 ppg)
ABA leading scorer in 1969 (34.0 ppg)
NBA highest free-throw percentage 1973, 1975, 1976, 1978, 1979, 1980
ABA highest free-throw percentage 1969, 1971, 1972
NBA All-Star Game MVP (1967)
ABA Oakland Oaks (1968–1969)
ABA Washington Caps (1969–1970)
ABA New York Nets (1970–1972)
NBA Golden State Warriors (1972–1978)
All-NBA Second Team (1973)
NBA Finals MVP (1975)
NBA champion (1975)
NBA Houston Rockets (1978–1979)
All-NBA First Team (1966, 1967, 1974, 1975, 1976)
Eight-time NBA All-Star (1966, 1967, 1973–1978)
ABA All-Star First Team (1969–1972)
NBA 50 Greatest Players (1996)
NBA 75 Greatest Players (2021)
Bay Area Sports Hall of Fame (1988)
Sports Hall of Fame of New Jersey (1994)
University of Miami Sports Hall of Fame (1976)
Golden Plate Award of the American Academy of Achievement (1975)
15 games in NBA career scoring 50 or more points (5th in NBA history)
115 games in professional career scoring 40 or more points — 70 NBA, 45 ABA (4th in professional basketball history after Wilt Chamberlain, Michael Jordan and Kobe Bryant)
NBA records
Regular season
Only player in history to lead the NCAA, ABA and NBA in scoring
Led the NCAA in scoring in 1964–65 (973 points, 37.4 ppg)
Led the NBA in scoring in (2,775 points, 35.6 ppg)
Led the ABA in scoring in (1,190 points; 34.0 ppg)
Youngest player to score 57 points in a game: (57 points, San Francisco Warriors at New York Knicks, )
Free throws, consecutive, ABA game: 23, at Kentucky Colonels,
Assists, forward, game: 19, at Chicago Bulls, November 30, 1976
Playoffs
Scoring 30 or more points in all games, any playoff series: 6 games, vs. Philadelphia 76ers, 1967 NBA Finals
Points, 7-game ABA series: 281, vs. Denver Rockets, 1970 semifinals
Points scored, Game 7, any ABA-NBA playoff series: 52, at Denver Rockets,
Field goal attempts, 6-game series: 235, vs. Philadelphia 76ers, 1967 NBA Finals
Field goal attempts, game: 48, vs. Philadelphia 76ers,
Field goal attempts, quarter: 17, at Philadelphia 76ers,
Steals, quarter: 4, second quarter, at Chicago Bulls,
Tied with many other players
NBA Finals
Highest scoring average (career): 36.3
Scoring 30 or more points in all games, any championship series: 6 games, vs. Philadelphia 76ers, 1967 NBA Finals
Tied with Elgin Baylor, Michael Jordan, Hakeem Olajuwon, Shaquille O'Neal, and Kevin Durant.
Field goals made, game: 22, vs. Philadelphia 76ers,
Tied with Elgin Baylor
Field goal attempts, 6-game series: 235, vs. Philadelphia 76ers, 1967 NBA Finals
Field goal attempts, game: 48, vs. Philadelphia 76ers,
Field goal attempts, quarter: 17, at Philadelphia 76ers,
Steals, 4-game series: 14, vs. Washington Bullets, 1975 NBA Finals (3.5 spg)
All-Star
Field goal attempts, game: 27 (1967)
Steals, game: 8 (1975)
Personal fouls, game: 6, twice (1966, 1978)
Disqualifications, career: 2
Tied with Bob Cousy
See also
American Basketball Association (2000–present)
List of individual National Basketball Association scoring leaders by season
List of National Basketball Association players with most points in a game
List of National Basketball Association players with most steals in a game
List of National Basketball Association players with 50 or more points in a playoff game
List of NCAA Division I men's basketball players with 2000 points and 1000 rebounds
References
External links
Basketball Hall of Fame profile
RememberTheABA.com Rick Barry page
1972 Jim O'Brien biographical article on Rick Barry
Rick Barry and Rod Brooks Home Page at KNBR Radio
Rick Barry Career Statistics
A Voice Crying in the Wilderness
1944 births
Living people
All-American college men's basketball players
American Basketball Association announcers
American men's basketball players
American people of Lithuanian descent
American sports radio personalities
Basketball coaches from New Jersey
Basketball players from Colorado Springs, Colorado
Basketball players from New Jersey
Big3 coaches
Continental Basketball Association coaches
Golden State Warriors players
Golf writers and broadcasters
Houston Rockets players
Miami Hurricanes men's basketball players
Naismith Memorial Basketball Hall of Fame inductees
National Basketball Association All-Stars
National Basketball Association broadcasters
National Basketball Association players with retired numbers
New York Nets players
Oakland Oaks players
People from Roselle Park, New Jersey
Radio personalities from San Francisco
San Francisco Warriors draft picks
San Francisco Warriors players
Small forwards
Sportspeople from Elizabeth, New Jersey
Tennis commentators
United States Basketball League coaches
Washington Caps players
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[
"Chip Oliver (born April 24, 1944) is a former American football linebacker. He played for the Oakland Raiders from 1968 to 1969. He left the team to join One World Family of the Messiah's World Crusade, he wanted to but was unable to return to the team in 1971. \n\nin 1971 Oliver tried to get back on the Raider team, by standing and walking on his hands. He had been on a vegetarian diet. Aside from his affiliation with his religious group, it just was not Madden’s choice. Why another team did not show interest is a question.\n\nOliver played the son-in-law Richard in \"Those Were the Days,\" a 1969 television pilot which was the second attempt to start a sitcom eventually titled All in the Family.\n\nOliver was also the author of the 1971 book High for the Game: From Football Gladiator to Hippie, a Former Southern Cal and Oakland Raider Linebacker Tells All. In a commentary on the book, Todd Tobias says \"Oliver blasts professional football for treating players as pieces of meat, pumping them full of pain-numbing drugs and amphetamines, and then discarding them like common garbage when they can no longer sustain high levels of play on the field. In a way, Oliver was ahead of his time in his beliefs, and willingness to vocalize them.\" But that Oliver \"loses vast amounts of credibility when he describes attending practices high on mescaline, advocates the use of LSD, and talks about smoking enormous amounts of marijuana.\"\n\nReferences\n\n1944 births\nLiving people\nAmerican football linebackers\nUSC Trojans football players\nOakland Raiders players",
"Richard James Klein (born February 11, 1934 in Pana, Illinois–died December 27, 2005 in Pana, Illinois) was a National Football League and American Football League offensive lineman in the NFL for the Chicago Bears and the Dallas Cowboys, and in the AFL for the Boston Patriots and the Oakland Raiders. He played college football at the University of Iowa.\n\nEarly years\nKlein attended Schlarman High School and accepted a scholarship from the University of Georgia. He played in the freshman team, before leaving school to join the Navy during the Korean War.\n\nAfter leaving his military commitment in 1956, he chose to join the University of Iowa over other schools. He was a teammate of Alex Karras and became the starter at right tackle and defensive tackle.\n\nThe next year, he was named an honorable-mention All-American. Head coach Forest Evashevski allowed his release with a year of eligibility still remaining, in order for him to join the Chicago Bears in the National Football League.\n\nProfessional career\n\nChicago Bears\nKlein was selected by the Chicago Bears in the 29th round (347th overall) of the 1955 NFL Draft, after his original class had graduated, although his college eligibility wasn't completed.\n\nHe was a war veteran and didn't start his professional career until 1958. He was waived before the start of the 1960 season.\n\nDallas Cowboys\nOn September 10, 1960, he was claimed off waivers by the Dallas Cowboys. He only played in 7 games (4 starts) because of a broken shoulder. On December 22, he was traded to the Pittsburgh Steelers along with safety Bill Butler, in exchange for safety Dick Moegle.\n\nPittsburgh Steelers\nIn 1961, Klein played in 2 games before being released.\n\nBoston Patriots\nOn October 4, 1961, he was signed as a free agent by the Boston Patriots of the American Football League. The next year, he was named to the AFL All Star team as a defensive tackle. On August 7, 1963, his rights were sold to the Oakland Raiders.\n\nOakland Raiders\nKlein played two seasons for the Oakland Raiders, both as a defensive tackle and offensive tackle.\n\nReferences\n\nExternal links\n \n\n1934 births\n2005 deaths\nPeople from Pana, Illinois\nPlayers of American football from Illinois\nAmerican football offensive tackles\nGeorgia Bulldogs football players\nIowa Hawkeyes football players\nChicago Bears players\nDallas Cowboys players\nBoston Patriots players\nOakland Raiders players\nAmerican Football League All-Star players\nAmerican Football League players"
] |
[
"Rick Barry",
"Oakland Oaks",
"when did he join oakland",
"After the 1966-67 season,"
] |
C_8f7fac246686419095d0aa03c67dc933_0
|
what did he achieve with them
| 2 |
what did Rick Barry achieve with the Oakland Oaks
|
Rick Barry
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After the 1966-67 season, Barry became one of the first NBA players to jump to the American Basketball Association when he signed with the Oakland Oaks. In the ABA's first season, the Oaks were the only ABA team located in the same market as an NBA team (the Warriors). The Warriors went to court and prevented Barry from playing for the Oaks during the 1967-68 season. Barry instead worked on Oaks radio broadcasts during the ABA's first season. During the 1968-69 season Barry suited up for the Oaks and averaged 34 points per game. He also led the ABA in free throw percentage for the season (a feat he repeated in the 1970-71 and 1971-72 seasons). However, on December 27, 1968, late in a game against the New York Nets, Barry and Kenny Wilburn collided and Barry tore ligaments in his knee. He tried to play again in January but only aggravated the injury and sat out the rest of the season, only appearing in 35 games as a result. Despite the injury Barry was named to the ABA All-Star team. The Oaks finished with a record of 60-18, winning the Western Division by 14 games over the second place New Orleans Buccaneers. In the 1969 ABA Playoffs the Oaks defeated the Denver Rockets in a seven-game series and then defeated New Orleans in the Western Division finals. In the finals the Oaks defeated the Indiana Pacers 4 games to 1 to win the 1969 ABA Championship. The Oaks' on-court success had not translated into solid attendance. The team averaged 2,800 fans per game. Instead of remaining in Oakland for another season to see if the championship would draw fans, the team was sold by owner Pat Boone and relocated to Washington, D.C. for the 1969-70 season. CANNOTANSWER
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). The Warriors went to court and prevented Barry from playing for the Oaks during the 1967-68 season.
|
Richard Francis Dennis Barry III (born March 28, 1944) is an American retired professional basketball player who played in both the American Basketball Association (ABA) and National Basketball Association (NBA). Named one of the 50 Greatest Players in history in 1996 and 75 Greatest Players in history in 2021, each in a league-wide vote of media, analysts, current and former players and team executives, Barry ranks among the most prolific scorers and all-around players in basketball history. He is the only one to lead the National Collegiate Athletic Association (NCAA), ABA, and NBA in points per game in a season. He ranks as the all-time ABA scoring leader in regular season (30.5 points per game) and postseason (33.5) play, while his 36.3 points per game are the most in the NBA Finals history. Barry also is the only player to reach the 50-point mark in a Game 7 of the playoffs in either league. He is one of only four players to be a part of a championship team in both leagues.
Barry is widely known for his unorthodox but extraordinarily effective underhand free throw technique. His career .880 free throw percentage ranks No. 1 in ABA history, and at the time of his retirement in 1980, his .900 percentage was the best of any NBA player. In 1987, he was inducted into the Naismith Memorial Basketball Hall of Fame. In October 2021, Barry was honored as one of the league's greatest players of all-time by being named to the NBA 75th Anniversary Team.
Barry is the father of former professional basketball players Brent Barry, Jon Barry, Drew Barry, and Scooter Barry, and current professional player Canyon Barry. His wife, Lynn Norenberg Barry, was a star basketball player at the College of William & Mary, where she became the first female athlete to have her jersey number (22) retired.
Early years and college career
Barry grew up in Roselle Park, New Jersey, where baseball was his best sport as a youth. He grew up a fan of local New York Giants star Willie Mays, who wore jersey number 24, and Barry would wear the same number in tribute to the outfielder throughout his basketball career. In 1962, Barry graduated from Roselle Park High School.
Barry decided to attend the University of Miami, largely because the Hurricanes adhered to an up-tempo, pro-style system under head coach Bruce Hale that was conducive to his skills and athleticism. It was there that the three-time All-American met his future wife Pamela, who was the daughter of the head coach. As a senior, Barry led the NCAA with a 37.4 points per game average in the 1964–65 campaign. He and his teammates did not take part in the NCAA Tournament, however, because the Hurricanes basketball program was on probation at the time.
Barry was drafted by the San Francisco Warriors with the second pick of the 1965 NBA draft. He had hoped to be selected by the New York Knicks, his hometown team, but they opted for local Princeton star Bill Bradley in round one instead. It was a slight that Barry would not soon forget. In his second visit to Madison Square Garden as a pro, he went off for 57 points versus the Knicks, including 21 free throws in 22 attempts. He also grabbed 15 rebounds in the 141–137 loss.
Professional playing career
San Francisco Warriors
In Barry's first season in the NBA with the Warriors, the team made a quantum leap from 17 to 35 victories and were in playoff contention until the final game of the regular season. In the All-Star Game one season later, Barry erupted for 38 points as the West team stunned the East team, which featured Wilt Chamberlain, Oscar Robertson, Bill Russell and head coach Red Auerbach among other all-time greats. Later that season, Barry and company extended the mighty Philadelphia 76ers to six highly competitive games in the NBA Finals, something that Russell and the Boston Celtics could not do in the Eastern Conference playoffs.
Nicknamed the "Miami Greyhound" by longtime San Francisco Bay Area broadcaster Bill King because of his long and slender physical build, whippet-like quickness and remarkable instincts, the Barry won the NBA Rookie of the Year Award after averaging 25.7 points and 10.6 rebounds per game in the 1965–66 season. The following year, he won the 1967 NBA All-Star Game MVP award with a 38-point outburst and led the NBA in scoring with a 35.6 point per game average — which still ranks as the eighth-highest output in league annals.
Along with All-Star center Nate Thurmond, Barry carried the Warriors to the 1967 NBA Finals, which they lost to the Philadelphia 76ers in six games. Despite an injured left knee that required cortisone shots on game days, Barry averaged 40.8 points per game in the series, an NBA Finals record that stood for three decades. "The guy was so good that we had to have three different guys guard him at different times," Chamberlain said. "'Cause he would run them all ragged."
Joining the ABA
At odds with Warriors owner Franklin Mieuli over unpaid incentive monies due him, Barry shocked the basketball world when he jumped to the ABA's Oakland Oaks, who overwhelmed him with a historic contract offer. Barry became the first marquee NBA player to jump to the rival league. Not only was the three-year agreement worth a reported $500,000, which would make him one of basketball's highest-paid players, it afforded him the opportunity to play for his former college coach Bruce Hale, who was also his father-in-law. In addition, Barry received 15 percent ownership in the franchise as well as 5 percent of all ticket sales in excess of $600,000 for home games. The ground-breaking deal led him to remark, "The offer Oakland made me was one I simply couldn't turn down."
The courts ordered Barry to sit out the 1967–68 season for the Oaks, upholding the validity of the reserve clause in his contract. At the time, all NBA teams had one-year options on player contracts, however, and the Warriors were quick to exercise theirs. He preceded St. Louis Cardinals' outfielder Curt Flood, whose better-known challenge to the reserve clause went all the way to the U.S. Supreme Court, by two years as the first American major-league professional athlete to bring a court action against it. The ensuing negative publicity cast Barry in a negative light, portraying him as selfish and money hungry. He was hardly alone in his vision, however, as numerous NBA players also saw the rival league as a rare opportunity to enhance their careers.
Oakland Oaks
The Oaks finished 22–56 in their ABA debut, which Barry spent as part of their broadcast team. Prior to the 1968–69 season, they hired his former San Francisco Warriors coach Alex Hannum to replace Hale, who moved to a front office position. If there was any question about whether Barry would remain the most dominant player in professional basketball, he quickly answered it. In his ABA debut, he averaged a league-high 34.0 points per game and the Oaks became the first West Coast team to capture a league championship in professional basketball history. Barry also paced the league in free-throw percentage in the regular season, a feat he would repeat in the 1970–71 and 1971–72 seasons.
Barry had his season come to an abrupt halt on December 27, 1968, when late in a game against the New York Nets, he was blindsided by Ken Wilburn on a drive to the basket and tore left knee ligaments on the play. He attempted to come back in January 1969, only to aggravate the injury and sit out the remainder of the season. He took part in only 35 games but still was named to the ABA All-Star team.
Even without the arguably the best all-around player in basketball, the Oaks barely skipped a beat. They finished with a 60–18 record under Hannum, dominating the Western Division by 14 games over the second-place New Orleans Buccaneers. In the 1969 ABA Playoffs, the Oaks ousted the Denver Rockets in a seven-game series then swept the Buccaneers in the Western Division finals. In the championship round, they made short work of the Indiana Pacers, 4–1, to capture the league title.
In lieu of a parade in downtown Oakland, a modest victory celebration was held at a restaurant in Jack London Square. It was there that Barry announced, "I see no hope for the rest of the teams in the league."
Washington Caps
Despite their on-court excellence, the Oaks were a disappointment at the gate, partly because of Barry's absence in the final five months of the season, partly because they were the only ABA member that competed in the same market as an NBA team, that being the more established Warriors across the bay. They averaged just 2,800 fans per home game at the state-of-the-art Oakland County Coliseum Arena, slightly more than the league average. By that time, entertainer-business entrepreneur Pat Boone had become the majority team owner, and after more than $2 million in losses over two seasons, he wanted out of the basketball business. In August 1968, the franchise was sold to a group headed by real estate attorney and former Baltimore Bullets owner Earl Foreman, who immediately moved it to Washington, D.C., even though there was no suitable arena in the vicinity at the time.
Reluctantly, Barry played the 1969–70 season with the ABA's Washington Caps. He refused to report to the team at the outset, at one point commenting, "If I wanted to go to Washington, I'd run for president!" He missed the first 32 games before he joined the team, which played in the Western Division, making for a grueling travel schedule. The Caps still managed to finish with a respectable 44–40 record, good for third place in the Western Division. Appearing in only 52 games because of a knee injury, Barry finished the season with 1,442 points (27.7 per game), second-best in the league. The Denver Rockets edged the Caps, 4–3, in the Western Division semifinals. In Game 7 on the road, Barry went off for 52 points, the most scored in a seventh and deciding game in professional basketball history.
Virginia Squires
The Washington Caps became the Virginia Squires after the 1969–70 season, but Barry was openly despondent about playing in Virginia. At the same time, he wanted to continue playing in the ABA. Featured on the August 24, 1970, cover of Sports Illustrated in a Squires jersey, he indicated that he would not return to the NBA if the league paid him "a million dollars a year." He denounced the Squires (and, subsequently, never suited up for them), saying he did not want his kids growing up with a Southern accent. On September 1, 1970, the Squires traded Barry to the New York Nets for a draft pick and $200,000. The negative comments were not the primary reason; rather, Squires owner Earl Foreman was mired in financial troubles and sold Barry to help meet expenses.
New York Nets
After the Squires dealt Barry to the New York Nets, he played in only 59 games in the 1970–71 season because of a knee injury but still made the ABA All Star team. He repeated as an ABA All Star during the 1971–72 season. During the 1970–71 season he led the league in scoring (29.4 points per game) and led the league again in 1971–72 with 31.5 points per game. In both of those years he also led the ABA in free throw percentage as he had in 1968–69. Barry also became the ABA record holder for most consecutive free throws in one game with 23.
In the 1970–71 season, the Nets finished 40–44, good for fourth place in the Eastern Division and a place in the 1971 ABA Playoffs. The Virginia Squires defeated the Nets 4 games to 2 in the Eastern Division semifinals. The 1971–72 Nets finished the season at 44–40, making the 1972 ABA Playoffs by claiming third place in the Eastern Division, 24 games behind the 68–16 Kentucky Colonels. In the Eastern Division semifinals the Nets shocked the ABA by defeating the Colonels 4 games to 2. The Nets then eked out a 4–3 game victory over the Virginia Squires in the Eastern Division finals. The Nets were then edged by the Western Division champion Indiana Pacers, 4 games to 2, in the 1972 ABA Finals.
On June 23, 1972, a United States District Court judge issued a preliminary injunction to prohibit Barry from playing for any team other than the Golden State Warriors after his contract with the Nets ended. On October 6, 1972, the Nets released Barry and he returned to the Warriors.
Golden State Warriors
Upon Barry's return to the Warriors and the NBA, the cumulative effects of knee problems were taking their toll. Barry gradually moved his game away from the basket, where he became the first so-called point forward in league history. That is, Barry took on a role similar to that of a point guard and became the chief facilitator of the offense. While his offensive forays were not as frequent as in the past, he remained an elite scorer as evidenced by his performance on March 26, 1974, when he went off for a career-high 64 points and grabbed 10 rebounds in a 143–120 win over the visiting Portland Trail Blazers.
In 1974–75, the Warriors had a Cinderella season for the ages. The turnaround began in training camp, when Barry was elected captain by his teammates. They went on to capture the Pacific Division crown as Barry responded with the best all-around season of his career. Not only did he average 30.6 points per game, but he also led the league in free throw percentage (.904) and steals per game (2.9) and ranked sixth in assists per game (6.2), the only forward among the top 10 in the category.
In the playoffs, the upstart Warriors turned back the Seattle SuperSonics and Chicago Bulls to capture the Western Conference crown. In the NBA Finals, they shocked the basketball world with a historic four-game sweep of Elvin Hayes, Wes Unseld and the Washington Bullets, widely considered to be the greatest postseason upset in NBA history. The Bullets had posted a league-high 60 victories, 12 more than the Warriors total in the regular season, which led many experts to predict that they would win the series easily. Barry was named NBA Finals Most Valuable Player on the strength of 29.5 points, 5.0 assists and 3.5 steals per game, not to mention his profound impact in a leadership role.
In the 1975 NBA draft, the Warriors selected point guard Gus Williams in the first round. While Williams made immediate contributions off the bench, off guard Phil Smith came into his own in his second season. Barry was not required to carry the team as often, and his scoring average dipped to 21.0 points per game as a result. As the deepest and most athletic team in professional basketball, the Warriors repeated as Pacific Division champions, this time with a league-best 59–23 record. They entered the playoffs as clear-cut favorites to return to the NBA Finals.
After an unusual 10-day layoff, partly to accommodate network television, the Warriors eliminated the Detroit Pistons in round one then were upset in the Western Conference finals by the Phoenix Suns in seven games. The final contest was marred by a fight between Barry and Suns rookie Ricky Sobers away from the ball in the first quarter, during which none of the Warriors came to his aid at the opposite side of the court. Suns broadcaster Al McCoy concocted a narrative that Barry quit in the second half, a charge that lacked tangible evidence and he steadfastly denied. In fact, Barry led his team in points and shot attempts that game. Rather, he said his intent was to get more teammates involved in the third quarter, the game plan that had allowed them to dominate in the regular season.
In the 1976–77 campaign, the Warriors won 46 games the next season with Barry, Smith, and Williams sharing scoring and ball-handling, but were ousted in the second round by the Los Angeles Lakers. Reportedly, Barry and Williams clashed over the ball-handling role, and Williams was traded after the season to the Seattle SuperSonics. Barry averaged 23.1 points per game in his farewell season (1977–78) with the Warriors, but the team failed to make the playoffs.
Houston Rockets
Barry finished his career with the Houston Rockets, playing through the 1979–80 NBA season. The Rockets signed him as a free agent in June, 1978, and the league awarded veteran guard John Lucas to the Warriors as compensation.
In the twilight of his career, Barry continued to make history. In his Rockets debut, he assumed a new role as the first player off the bench. It was not long before he elevated the point forward position to another level. Barry finished with a career-high 502 assists to become the first true small forward to reach the 500 mark in one season. Until then, swingman John Havlicek had been the only forward with as many as 500 assists in a season, but the Boston Celtics swingman also spent considerable time at the off guard spot. Barry averaged 13.5 points per game and established a new NBA record (since broken) with a .947 free throw percentage.
Barry was less of a factor in his final season. The Rockets were swept by the Celtics in the 1980 Eastern Conference semifinals, and when contract talks with Boston and the Seattle SuperSonics failed to produce a contract, he decided to retire.
NBA career statistics
Regular season
|-
| style="text-align:left;"|
| style="text-align:left;"|San Francisco
| style="background:#cfecec;"|80* || || 37.4 || .439 || || .862 || 10.6 || 2.2 || || || 25.7
|-
| style="text-align:left;"|
| style="text-align:left;"|San Francisco
| 78 || || 40.7 || .451 || || .884 || 9.2 || 3.6 || || || style="background:#cfecec;"|35.6*
|-
| style="text-align:left;"|
| style="text-align:left;"|Golden State
| style="background:#cfecec;"|82* || || 37.5 || .452 || || style="background:#cfecec;"|.902* || 8.9 || 4.9 || || || 22.3
|-
| style="text-align:left;"|
| style="text-align:left;"|Golden State
| 80 || || 36.5 || .456 || || .899 || 6.8 || 6.1 || 2.1 || 0.5 || 25.1
|-
| style="text-align:left; background:#afe6ba;"|†
| style="text-align:left;"|Golden State
| 80 || || 40.4 || .464 || || style="background:#cfecec;"|.904* || 5.7 || 6.2 || style="background:#cfecec;"|2.9* || 0.4 || 30.6
|-
| style="text-align:left;"|
| style="text-align:left;"|Golden State
| 81 || || 38.5 || .435 || || style="background:#cfecec;"|.923* || 6.1 || 6.1 || 2.5 || 0.3 || 21.0
|-
| style="text-align:left;"|
| style="text-align:left;"|Golden State
| 79 || || 36.8 || .440 || || .916 || 5.3 || 6.0 || 2.2 || 0.7 || 21.8
|-
| style="text-align:left;"|
| style="text-align:left;"|Golden State
| 82 || || 36.9 || .451 || || style="background:#cfecec;"|.924* || 5.5 || 5.4 || 1.9 || 0.5 || 23.1
|-
| style="text-align:left;"|
| style="text-align:left;"|Houston
| 80 || || 32.1 || .461 || || style="background:#cfecec;"|.947* || 3.5 || 6.3 || 1.2 || 0.5 || 13.5
|-
| style="text-align:left;"|
| style="text-align:left;"|Houston
| 72 || || 25.2 || .422 || .330 || style="background:#cfecec;"|.935* || 3.3 || 3.7 || 1.1 || 0.4 || 12.0
|- class=sortbottom
| style="text-align:center;" colspan="2"|Career
| 794 || || 36.3 || .449 || .330 || .900 || 6.5 || 5.1 || 2.0 || 0.5 || 23.2
Later years
During the 1990s, he coached the Cedar Rapids Sharpshooters of the Global Basketball Association and the Continental Basketball Association, guiding the Fort Wayne Fury to a 19–37 win-loss record in 1993–94. In 1998 and 1999, he served as head coach of the New Jersey ShoreCats of the United States Basketball League. Former Warriors teammate Clifford Ray was his top assistant.
Barry finished second in his division at the 2005 World Long Drive Championship.
Barry is part owner and promoter for the Ektio basketball shoe, which doctor and former college basketball player Barry Katz designed to reduce ankle injuries. He also serves on the company's Board of Directors.
Broadcasting career
Barry was among the first professional basketball players to make a successful transition to the broadcasting profession. He began broadcasting during the 1967–68 season broadcasting Oakland Oaks games because of contractual matters that kept him off the court. Barry continues to work in the field, a career that began with his own radio show in San Francisco and CBS while still an active player and then with TBS.
While working as a CBS analyst during Game 5 of the 1981 NBA Finals, Barry made a controversial comment when CBS displayed an old photo of colleague Bill Russell, who is African-American. He tried to joke that "it looks like some fool over there with that big watermelon grin". Barry later apologized for the comment, claiming that he did not realize that a reference to watermelons had racial overtones. Russell said that he believed Barry with regard to Barry's racial attitudes, but nonetheless, the two men are reported not to have been particularly friendly for other reasons, unrelated to that comment.
CBS did not renew Barry's employment for the subsequent season. Producers later cited the general negative tone of his game commentary, which did not sit well with some players and agents around the league. The next season Barry filled in on a few Seattle SuperSonics broadcasts, but a plan for a full-time position fell through when he insisted that his then-wife be allowed to join him when the team was on the road, which would have been contrary to team policy. The next year, Barry was featured in a lengthy Sports Illustrated article written by Tony Kornheiser in which he lamented the failure of his broadcasting career to that point, as well as the fact that he'd left a reputation within NBA circles for being an unlikeable person. After this, Barry worked with TBS and later on, TNT into the 1989–90 season, mostly as a color analyst but sometimes as a play-by-play announcer paired with Bill Russell. One of the more notable games Barry called as play-by-play announcer on TBS was Game 5 of the 1985 Eastern Conference Finals between the Boston Celtics and the Philadelphia 76ers, where Larry Bird made a last-second steal which sealed the win and the Eastern Conference Championship for the Celtics. After the 1989–90 season, Barry became the color analyst for the Atlanta Hawks' games that aired on TBS, paired with Skip Caray.
In a rare non-sports venture, he hosted the pilot for the mid-1980s game show Catchphrase; however, when the series debuted in the fall of 1985, game show veteran Art James replaced him (the series itself was short-lived in the US, but was brought over to the UK and is still running).
In September 2001, Barry began hosting a sports talk show on KNBR in San Francisco until June 2003, when KNBR paired him up with Rod Brooks to co-host a show named Rick and Rod. The show aired on KNBR until August 2006, when Barry left the station abruptly for reasons not disclosed to the public.
Personal life
Barry is of Irish, English, French, and Lithuanian descent. He was a member of the Kappa Sigma fraternity. He resides in Colorado Springs, Colorado with his wife, Lynn Norenberg Barry. While their youngest son, Canyon, played basketball for The University of Florida, to watch him play, they rented a condominium in Gainesville, Florida.
He has four sons and a daughter with his first wife Pam: Scooter, Jon, Brent, Drew and Shannon. All of Barry's sons were professional basketball players. Barry wrote an autobiography, Confessions of a Basketball Gypsy: The Rick Barry Story with Bill Libby that was published in 1972. He also has a son, Canyon, with his third wife, Lynn Barry, who is a professional player, playing for Chinese club Hunan Jinjian Miye in the 2018–19 season.
When his son Brent won the NBA Championship in 2005 with the San Antonio Spurs, Rick and Brent became the second father-son duo to both win NBA Championships as players, following Matt Guokas Sr. and Matt Guokas Jr. Later, this would be repeated by Bill and Luke Walton, and Mychal and Klay Thompson.
Jon and Brent have also moved to broadcasting after retirement. Jon serves as a game analyst on ESPN while Brent worked as a studio and game analyst on TNT and NBA TV until 2018 when he took a job with the San Antonio Spurs to be vice president of basketball operations.
Scooter won titles in the CBA and the top Belgian League.
Career achievements
Roselle Park High School – Roselle Park, New Jersey (1957–1961)
Two-time All-State selection
University of Miami (1961–1965)
Associated Press First-Team All-America (1965)
The Sporting News All-America Second Team (1965)
Consensus All-America (1965)
Led the nation in scoring (37.4 ppg) as a senior
NBA San Francisco Warriors (1965–1967)
NBA Rookie of the Year (1966)
NBA All-Rookie First Team (1966)
NBA leading scorer in 1967 (35.6 ppg)
ABA leading scorer in 1969 (34.0 ppg)
NBA highest free-throw percentage 1973, 1975, 1976, 1978, 1979, 1980
ABA highest free-throw percentage 1969, 1971, 1972
NBA All-Star Game MVP (1967)
ABA Oakland Oaks (1968–1969)
ABA Washington Caps (1969–1970)
ABA New York Nets (1970–1972)
NBA Golden State Warriors (1972–1978)
All-NBA Second Team (1973)
NBA Finals MVP (1975)
NBA champion (1975)
NBA Houston Rockets (1978–1979)
All-NBA First Team (1966, 1967, 1974, 1975, 1976)
Eight-time NBA All-Star (1966, 1967, 1973–1978)
ABA All-Star First Team (1969–1972)
NBA 50 Greatest Players (1996)
NBA 75 Greatest Players (2021)
Bay Area Sports Hall of Fame (1988)
Sports Hall of Fame of New Jersey (1994)
University of Miami Sports Hall of Fame (1976)
Golden Plate Award of the American Academy of Achievement (1975)
15 games in NBA career scoring 50 or more points (5th in NBA history)
115 games in professional career scoring 40 or more points — 70 NBA, 45 ABA (4th in professional basketball history after Wilt Chamberlain, Michael Jordan and Kobe Bryant)
NBA records
Regular season
Only player in history to lead the NCAA, ABA and NBA in scoring
Led the NCAA in scoring in 1964–65 (973 points, 37.4 ppg)
Led the NBA in scoring in (2,775 points, 35.6 ppg)
Led the ABA in scoring in (1,190 points; 34.0 ppg)
Youngest player to score 57 points in a game: (57 points, San Francisco Warriors at New York Knicks, )
Free throws, consecutive, ABA game: 23, at Kentucky Colonels,
Assists, forward, game: 19, at Chicago Bulls, November 30, 1976
Playoffs
Scoring 30 or more points in all games, any playoff series: 6 games, vs. Philadelphia 76ers, 1967 NBA Finals
Points, 7-game ABA series: 281, vs. Denver Rockets, 1970 semifinals
Points scored, Game 7, any ABA-NBA playoff series: 52, at Denver Rockets,
Field goal attempts, 6-game series: 235, vs. Philadelphia 76ers, 1967 NBA Finals
Field goal attempts, game: 48, vs. Philadelphia 76ers,
Field goal attempts, quarter: 17, at Philadelphia 76ers,
Steals, quarter: 4, second quarter, at Chicago Bulls,
Tied with many other players
NBA Finals
Highest scoring average (career): 36.3
Scoring 30 or more points in all games, any championship series: 6 games, vs. Philadelphia 76ers, 1967 NBA Finals
Tied with Elgin Baylor, Michael Jordan, Hakeem Olajuwon, Shaquille O'Neal, and Kevin Durant.
Field goals made, game: 22, vs. Philadelphia 76ers,
Tied with Elgin Baylor
Field goal attempts, 6-game series: 235, vs. Philadelphia 76ers, 1967 NBA Finals
Field goal attempts, game: 48, vs. Philadelphia 76ers,
Field goal attempts, quarter: 17, at Philadelphia 76ers,
Steals, 4-game series: 14, vs. Washington Bullets, 1975 NBA Finals (3.5 spg)
All-Star
Field goal attempts, game: 27 (1967)
Steals, game: 8 (1975)
Personal fouls, game: 6, twice (1966, 1978)
Disqualifications, career: 2
Tied with Bob Cousy
See also
American Basketball Association (2000–present)
List of individual National Basketball Association scoring leaders by season
List of National Basketball Association players with most points in a game
List of National Basketball Association players with most steals in a game
List of National Basketball Association players with 50 or more points in a playoff game
List of NCAA Division I men's basketball players with 2000 points and 1000 rebounds
References
External links
Basketball Hall of Fame profile
RememberTheABA.com Rick Barry page
1972 Jim O'Brien biographical article on Rick Barry
Rick Barry and Rod Brooks Home Page at KNBR Radio
Rick Barry Career Statistics
A Voice Crying in the Wilderness
1944 births
Living people
All-American college men's basketball players
American Basketball Association announcers
American men's basketball players
American people of Lithuanian descent
American sports radio personalities
Basketball coaches from New Jersey
Basketball players from Colorado Springs, Colorado
Basketball players from New Jersey
Big3 coaches
Continental Basketball Association coaches
Golden State Warriors players
Golf writers and broadcasters
Houston Rockets players
Miami Hurricanes men's basketball players
Naismith Memorial Basketball Hall of Fame inductees
National Basketball Association All-Stars
National Basketball Association broadcasters
National Basketball Association players with retired numbers
New York Nets players
Oakland Oaks players
People from Roselle Park, New Jersey
Radio personalities from San Francisco
San Francisco Warriors draft picks
San Francisco Warriors players
Small forwards
Sportspeople from Elizabeth, New Jersey
Tennis commentators
United States Basketball League coaches
Washington Caps players
| 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",
"SOARA (Situation, Objective, Action, Results, Aftermath) is a job interview technique developed by Hagymas Laszlo, Professor of Language at the University of Munich, and Alexander Botos, Chief Curator at the National Institute of Economic and Social Research. It is similar to the Situation, Task, Action, Result technique. In many interviews, SOARA is used as a structure for clarifying information relating to a recent challenge.\n\nDetails\n\n Situation: The interviewer wants you to present a recent challenge and situation you found yourself in.\n Objective: What did you have to achieve? The interviewer will be looking to see what you were trying to achieve from the situation.\n Action: What did you do? The interviewer will be looking for information on what you did, why you did it and what were the alternatives.\n Results: What was the outcome of your actions? What did you achieve through your actions and did you meet your objectives.\n Aftermath: What did you learn from this experience and have you used this learning since?\n\nJob interview"
] |
[
"Rick Barry",
"Oakland Oaks",
"when did he join oakland",
"After the 1966-67 season,",
"what did he achieve with them",
"). The Warriors went to court and prevented Barry from playing for the Oaks during the 1967-68 season."
] |
C_8f7fac246686419095d0aa03c67dc933_0
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where did he come from
| 3 |
where did Rick Barry come from
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Rick Barry
|
After the 1966-67 season, Barry became one of the first NBA players to jump to the American Basketball Association when he signed with the Oakland Oaks. In the ABA's first season, the Oaks were the only ABA team located in the same market as an NBA team (the Warriors). The Warriors went to court and prevented Barry from playing for the Oaks during the 1967-68 season. Barry instead worked on Oaks radio broadcasts during the ABA's first season. During the 1968-69 season Barry suited up for the Oaks and averaged 34 points per game. He also led the ABA in free throw percentage for the season (a feat he repeated in the 1970-71 and 1971-72 seasons). However, on December 27, 1968, late in a game against the New York Nets, Barry and Kenny Wilburn collided and Barry tore ligaments in his knee. He tried to play again in January but only aggravated the injury and sat out the rest of the season, only appearing in 35 games as a result. Despite the injury Barry was named to the ABA All-Star team. The Oaks finished with a record of 60-18, winning the Western Division by 14 games over the second place New Orleans Buccaneers. In the 1969 ABA Playoffs the Oaks defeated the Denver Rockets in a seven-game series and then defeated New Orleans in the Western Division finals. In the finals the Oaks defeated the Indiana Pacers 4 games to 1 to win the 1969 ABA Championship. The Oaks' on-court success had not translated into solid attendance. The team averaged 2,800 fans per game. Instead of remaining in Oakland for another season to see if the championship would draw fans, the team was sold by owner Pat Boone and relocated to Washington, D.C. for the 1969-70 season. CANNOTANSWER
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CANNOTANSWER
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Richard Francis Dennis Barry III (born March 28, 1944) is an American retired professional basketball player who played in both the American Basketball Association (ABA) and National Basketball Association (NBA). Named one of the 50 Greatest Players in history in 1996 and 75 Greatest Players in history in 2021, each in a league-wide vote of media, analysts, current and former players and team executives, Barry ranks among the most prolific scorers and all-around players in basketball history. He is the only one to lead the National Collegiate Athletic Association (NCAA), ABA, and NBA in points per game in a season. He ranks as the all-time ABA scoring leader in regular season (30.5 points per game) and postseason (33.5) play, while his 36.3 points per game are the most in the NBA Finals history. Barry also is the only player to reach the 50-point mark in a Game 7 of the playoffs in either league. He is one of only four players to be a part of a championship team in both leagues.
Barry is widely known for his unorthodox but extraordinarily effective underhand free throw technique. His career .880 free throw percentage ranks No. 1 in ABA history, and at the time of his retirement in 1980, his .900 percentage was the best of any NBA player. In 1987, he was inducted into the Naismith Memorial Basketball Hall of Fame. In October 2021, Barry was honored as one of the league's greatest players of all-time by being named to the NBA 75th Anniversary Team.
Barry is the father of former professional basketball players Brent Barry, Jon Barry, Drew Barry, and Scooter Barry, and current professional player Canyon Barry. His wife, Lynn Norenberg Barry, was a star basketball player at the College of William & Mary, where she became the first female athlete to have her jersey number (22) retired.
Early years and college career
Barry grew up in Roselle Park, New Jersey, where baseball was his best sport as a youth. He grew up a fan of local New York Giants star Willie Mays, who wore jersey number 24, and Barry would wear the same number in tribute to the outfielder throughout his basketball career. In 1962, Barry graduated from Roselle Park High School.
Barry decided to attend the University of Miami, largely because the Hurricanes adhered to an up-tempo, pro-style system under head coach Bruce Hale that was conducive to his skills and athleticism. It was there that the three-time All-American met his future wife Pamela, who was the daughter of the head coach. As a senior, Barry led the NCAA with a 37.4 points per game average in the 1964–65 campaign. He and his teammates did not take part in the NCAA Tournament, however, because the Hurricanes basketball program was on probation at the time.
Barry was drafted by the San Francisco Warriors with the second pick of the 1965 NBA draft. He had hoped to be selected by the New York Knicks, his hometown team, but they opted for local Princeton star Bill Bradley in round one instead. It was a slight that Barry would not soon forget. In his second visit to Madison Square Garden as a pro, he went off for 57 points versus the Knicks, including 21 free throws in 22 attempts. He also grabbed 15 rebounds in the 141–137 loss.
Professional playing career
San Francisco Warriors
In Barry's first season in the NBA with the Warriors, the team made a quantum leap from 17 to 35 victories and were in playoff contention until the final game of the regular season. In the All-Star Game one season later, Barry erupted for 38 points as the West team stunned the East team, which featured Wilt Chamberlain, Oscar Robertson, Bill Russell and head coach Red Auerbach among other all-time greats. Later that season, Barry and company extended the mighty Philadelphia 76ers to six highly competitive games in the NBA Finals, something that Russell and the Boston Celtics could not do in the Eastern Conference playoffs.
Nicknamed the "Miami Greyhound" by longtime San Francisco Bay Area broadcaster Bill King because of his long and slender physical build, whippet-like quickness and remarkable instincts, the Barry won the NBA Rookie of the Year Award after averaging 25.7 points and 10.6 rebounds per game in the 1965–66 season. The following year, he won the 1967 NBA All-Star Game MVP award with a 38-point outburst and led the NBA in scoring with a 35.6 point per game average — which still ranks as the eighth-highest output in league annals.
Along with All-Star center Nate Thurmond, Barry carried the Warriors to the 1967 NBA Finals, which they lost to the Philadelphia 76ers in six games. Despite an injured left knee that required cortisone shots on game days, Barry averaged 40.8 points per game in the series, an NBA Finals record that stood for three decades. "The guy was so good that we had to have three different guys guard him at different times," Chamberlain said. "'Cause he would run them all ragged."
Joining the ABA
At odds with Warriors owner Franklin Mieuli over unpaid incentive monies due him, Barry shocked the basketball world when he jumped to the ABA's Oakland Oaks, who overwhelmed him with a historic contract offer. Barry became the first marquee NBA player to jump to the rival league. Not only was the three-year agreement worth a reported $500,000, which would make him one of basketball's highest-paid players, it afforded him the opportunity to play for his former college coach Bruce Hale, who was also his father-in-law. In addition, Barry received 15 percent ownership in the franchise as well as 5 percent of all ticket sales in excess of $600,000 for home games. The ground-breaking deal led him to remark, "The offer Oakland made me was one I simply couldn't turn down."
The courts ordered Barry to sit out the 1967–68 season for the Oaks, upholding the validity of the reserve clause in his contract. At the time, all NBA teams had one-year options on player contracts, however, and the Warriors were quick to exercise theirs. He preceded St. Louis Cardinals' outfielder Curt Flood, whose better-known challenge to the reserve clause went all the way to the U.S. Supreme Court, by two years as the first American major-league professional athlete to bring a court action against it. The ensuing negative publicity cast Barry in a negative light, portraying him as selfish and money hungry. He was hardly alone in his vision, however, as numerous NBA players also saw the rival league as a rare opportunity to enhance their careers.
Oakland Oaks
The Oaks finished 22–56 in their ABA debut, which Barry spent as part of their broadcast team. Prior to the 1968–69 season, they hired his former San Francisco Warriors coach Alex Hannum to replace Hale, who moved to a front office position. If there was any question about whether Barry would remain the most dominant player in professional basketball, he quickly answered it. In his ABA debut, he averaged a league-high 34.0 points per game and the Oaks became the first West Coast team to capture a league championship in professional basketball history. Barry also paced the league in free-throw percentage in the regular season, a feat he would repeat in the 1970–71 and 1971–72 seasons.
Barry had his season come to an abrupt halt on December 27, 1968, when late in a game against the New York Nets, he was blindsided by Ken Wilburn on a drive to the basket and tore left knee ligaments on the play. He attempted to come back in January 1969, only to aggravate the injury and sit out the remainder of the season. He took part in only 35 games but still was named to the ABA All-Star team.
Even without the arguably the best all-around player in basketball, the Oaks barely skipped a beat. They finished with a 60–18 record under Hannum, dominating the Western Division by 14 games over the second-place New Orleans Buccaneers. In the 1969 ABA Playoffs, the Oaks ousted the Denver Rockets in a seven-game series then swept the Buccaneers in the Western Division finals. In the championship round, they made short work of the Indiana Pacers, 4–1, to capture the league title.
In lieu of a parade in downtown Oakland, a modest victory celebration was held at a restaurant in Jack London Square. It was there that Barry announced, "I see no hope for the rest of the teams in the league."
Washington Caps
Despite their on-court excellence, the Oaks were a disappointment at the gate, partly because of Barry's absence in the final five months of the season, partly because they were the only ABA member that competed in the same market as an NBA team, that being the more established Warriors across the bay. They averaged just 2,800 fans per home game at the state-of-the-art Oakland County Coliseum Arena, slightly more than the league average. By that time, entertainer-business entrepreneur Pat Boone had become the majority team owner, and after more than $2 million in losses over two seasons, he wanted out of the basketball business. In August 1968, the franchise was sold to a group headed by real estate attorney and former Baltimore Bullets owner Earl Foreman, who immediately moved it to Washington, D.C., even though there was no suitable arena in the vicinity at the time.
Reluctantly, Barry played the 1969–70 season with the ABA's Washington Caps. He refused to report to the team at the outset, at one point commenting, "If I wanted to go to Washington, I'd run for president!" He missed the first 32 games before he joined the team, which played in the Western Division, making for a grueling travel schedule. The Caps still managed to finish with a respectable 44–40 record, good for third place in the Western Division. Appearing in only 52 games because of a knee injury, Barry finished the season with 1,442 points (27.7 per game), second-best in the league. The Denver Rockets edged the Caps, 4–3, in the Western Division semifinals. In Game 7 on the road, Barry went off for 52 points, the most scored in a seventh and deciding game in professional basketball history.
Virginia Squires
The Washington Caps became the Virginia Squires after the 1969–70 season, but Barry was openly despondent about playing in Virginia. At the same time, he wanted to continue playing in the ABA. Featured on the August 24, 1970, cover of Sports Illustrated in a Squires jersey, he indicated that he would not return to the NBA if the league paid him "a million dollars a year." He denounced the Squires (and, subsequently, never suited up for them), saying he did not want his kids growing up with a Southern accent. On September 1, 1970, the Squires traded Barry to the New York Nets for a draft pick and $200,000. The negative comments were not the primary reason; rather, Squires owner Earl Foreman was mired in financial troubles and sold Barry to help meet expenses.
New York Nets
After the Squires dealt Barry to the New York Nets, he played in only 59 games in the 1970–71 season because of a knee injury but still made the ABA All Star team. He repeated as an ABA All Star during the 1971–72 season. During the 1970–71 season he led the league in scoring (29.4 points per game) and led the league again in 1971–72 with 31.5 points per game. In both of those years he also led the ABA in free throw percentage as he had in 1968–69. Barry also became the ABA record holder for most consecutive free throws in one game with 23.
In the 1970–71 season, the Nets finished 40–44, good for fourth place in the Eastern Division and a place in the 1971 ABA Playoffs. The Virginia Squires defeated the Nets 4 games to 2 in the Eastern Division semifinals. The 1971–72 Nets finished the season at 44–40, making the 1972 ABA Playoffs by claiming third place in the Eastern Division, 24 games behind the 68–16 Kentucky Colonels. In the Eastern Division semifinals the Nets shocked the ABA by defeating the Colonels 4 games to 2. The Nets then eked out a 4–3 game victory over the Virginia Squires in the Eastern Division finals. The Nets were then edged by the Western Division champion Indiana Pacers, 4 games to 2, in the 1972 ABA Finals.
On June 23, 1972, a United States District Court judge issued a preliminary injunction to prohibit Barry from playing for any team other than the Golden State Warriors after his contract with the Nets ended. On October 6, 1972, the Nets released Barry and he returned to the Warriors.
Golden State Warriors
Upon Barry's return to the Warriors and the NBA, the cumulative effects of knee problems were taking their toll. Barry gradually moved his game away from the basket, where he became the first so-called point forward in league history. That is, Barry took on a role similar to that of a point guard and became the chief facilitator of the offense. While his offensive forays were not as frequent as in the past, he remained an elite scorer as evidenced by his performance on March 26, 1974, when he went off for a career-high 64 points and grabbed 10 rebounds in a 143–120 win over the visiting Portland Trail Blazers.
In 1974–75, the Warriors had a Cinderella season for the ages. The turnaround began in training camp, when Barry was elected captain by his teammates. They went on to capture the Pacific Division crown as Barry responded with the best all-around season of his career. Not only did he average 30.6 points per game, but he also led the league in free throw percentage (.904) and steals per game (2.9) and ranked sixth in assists per game (6.2), the only forward among the top 10 in the category.
In the playoffs, the upstart Warriors turned back the Seattle SuperSonics and Chicago Bulls to capture the Western Conference crown. In the NBA Finals, they shocked the basketball world with a historic four-game sweep of Elvin Hayes, Wes Unseld and the Washington Bullets, widely considered to be the greatest postseason upset in NBA history. The Bullets had posted a league-high 60 victories, 12 more than the Warriors total in the regular season, which led many experts to predict that they would win the series easily. Barry was named NBA Finals Most Valuable Player on the strength of 29.5 points, 5.0 assists and 3.5 steals per game, not to mention his profound impact in a leadership role.
In the 1975 NBA draft, the Warriors selected point guard Gus Williams in the first round. While Williams made immediate contributions off the bench, off guard Phil Smith came into his own in his second season. Barry was not required to carry the team as often, and his scoring average dipped to 21.0 points per game as a result. As the deepest and most athletic team in professional basketball, the Warriors repeated as Pacific Division champions, this time with a league-best 59–23 record. They entered the playoffs as clear-cut favorites to return to the NBA Finals.
After an unusual 10-day layoff, partly to accommodate network television, the Warriors eliminated the Detroit Pistons in round one then were upset in the Western Conference finals by the Phoenix Suns in seven games. The final contest was marred by a fight between Barry and Suns rookie Ricky Sobers away from the ball in the first quarter, during which none of the Warriors came to his aid at the opposite side of the court. Suns broadcaster Al McCoy concocted a narrative that Barry quit in the second half, a charge that lacked tangible evidence and he steadfastly denied. In fact, Barry led his team in points and shot attempts that game. Rather, he said his intent was to get more teammates involved in the third quarter, the game plan that had allowed them to dominate in the regular season.
In the 1976–77 campaign, the Warriors won 46 games the next season with Barry, Smith, and Williams sharing scoring and ball-handling, but were ousted in the second round by the Los Angeles Lakers. Reportedly, Barry and Williams clashed over the ball-handling role, and Williams was traded after the season to the Seattle SuperSonics. Barry averaged 23.1 points per game in his farewell season (1977–78) with the Warriors, but the team failed to make the playoffs.
Houston Rockets
Barry finished his career with the Houston Rockets, playing through the 1979–80 NBA season. The Rockets signed him as a free agent in June, 1978, and the league awarded veteran guard John Lucas to the Warriors as compensation.
In the twilight of his career, Barry continued to make history. In his Rockets debut, he assumed a new role as the first player off the bench. It was not long before he elevated the point forward position to another level. Barry finished with a career-high 502 assists to become the first true small forward to reach the 500 mark in one season. Until then, swingman John Havlicek had been the only forward with as many as 500 assists in a season, but the Boston Celtics swingman also spent considerable time at the off guard spot. Barry averaged 13.5 points per game and established a new NBA record (since broken) with a .947 free throw percentage.
Barry was less of a factor in his final season. The Rockets were swept by the Celtics in the 1980 Eastern Conference semifinals, and when contract talks with Boston and the Seattle SuperSonics failed to produce a contract, he decided to retire.
NBA career statistics
Regular season
|-
| style="text-align:left;"|
| style="text-align:left;"|San Francisco
| style="background:#cfecec;"|80* || || 37.4 || .439 || || .862 || 10.6 || 2.2 || || || 25.7
|-
| style="text-align:left;"|
| style="text-align:left;"|San Francisco
| 78 || || 40.7 || .451 || || .884 || 9.2 || 3.6 || || || style="background:#cfecec;"|35.6*
|-
| style="text-align:left;"|
| style="text-align:left;"|Golden State
| style="background:#cfecec;"|82* || || 37.5 || .452 || || style="background:#cfecec;"|.902* || 8.9 || 4.9 || || || 22.3
|-
| style="text-align:left;"|
| style="text-align:left;"|Golden State
| 80 || || 36.5 || .456 || || .899 || 6.8 || 6.1 || 2.1 || 0.5 || 25.1
|-
| style="text-align:left; background:#afe6ba;"|†
| style="text-align:left;"|Golden State
| 80 || || 40.4 || .464 || || style="background:#cfecec;"|.904* || 5.7 || 6.2 || style="background:#cfecec;"|2.9* || 0.4 || 30.6
|-
| style="text-align:left;"|
| style="text-align:left;"|Golden State
| 81 || || 38.5 || .435 || || style="background:#cfecec;"|.923* || 6.1 || 6.1 || 2.5 || 0.3 || 21.0
|-
| style="text-align:left;"|
| style="text-align:left;"|Golden State
| 79 || || 36.8 || .440 || || .916 || 5.3 || 6.0 || 2.2 || 0.7 || 21.8
|-
| style="text-align:left;"|
| style="text-align:left;"|Golden State
| 82 || || 36.9 || .451 || || style="background:#cfecec;"|.924* || 5.5 || 5.4 || 1.9 || 0.5 || 23.1
|-
| style="text-align:left;"|
| style="text-align:left;"|Houston
| 80 || || 32.1 || .461 || || style="background:#cfecec;"|.947* || 3.5 || 6.3 || 1.2 || 0.5 || 13.5
|-
| style="text-align:left;"|
| style="text-align:left;"|Houston
| 72 || || 25.2 || .422 || .330 || style="background:#cfecec;"|.935* || 3.3 || 3.7 || 1.1 || 0.4 || 12.0
|- class=sortbottom
| style="text-align:center;" colspan="2"|Career
| 794 || || 36.3 || .449 || .330 || .900 || 6.5 || 5.1 || 2.0 || 0.5 || 23.2
Later years
During the 1990s, he coached the Cedar Rapids Sharpshooters of the Global Basketball Association and the Continental Basketball Association, guiding the Fort Wayne Fury to a 19–37 win-loss record in 1993–94. In 1998 and 1999, he served as head coach of the New Jersey ShoreCats of the United States Basketball League. Former Warriors teammate Clifford Ray was his top assistant.
Barry finished second in his division at the 2005 World Long Drive Championship.
Barry is part owner and promoter for the Ektio basketball shoe, which doctor and former college basketball player Barry Katz designed to reduce ankle injuries. He also serves on the company's Board of Directors.
Broadcasting career
Barry was among the first professional basketball players to make a successful transition to the broadcasting profession. He began broadcasting during the 1967–68 season broadcasting Oakland Oaks games because of contractual matters that kept him off the court. Barry continues to work in the field, a career that began with his own radio show in San Francisco and CBS while still an active player and then with TBS.
While working as a CBS analyst during Game 5 of the 1981 NBA Finals, Barry made a controversial comment when CBS displayed an old photo of colleague Bill Russell, who is African-American. He tried to joke that "it looks like some fool over there with that big watermelon grin". Barry later apologized for the comment, claiming that he did not realize that a reference to watermelons had racial overtones. Russell said that he believed Barry with regard to Barry's racial attitudes, but nonetheless, the two men are reported not to have been particularly friendly for other reasons, unrelated to that comment.
CBS did not renew Barry's employment for the subsequent season. Producers later cited the general negative tone of his game commentary, which did not sit well with some players and agents around the league. The next season Barry filled in on a few Seattle SuperSonics broadcasts, but a plan for a full-time position fell through when he insisted that his then-wife be allowed to join him when the team was on the road, which would have been contrary to team policy. The next year, Barry was featured in a lengthy Sports Illustrated article written by Tony Kornheiser in which he lamented the failure of his broadcasting career to that point, as well as the fact that he'd left a reputation within NBA circles for being an unlikeable person. After this, Barry worked with TBS and later on, TNT into the 1989–90 season, mostly as a color analyst but sometimes as a play-by-play announcer paired with Bill Russell. One of the more notable games Barry called as play-by-play announcer on TBS was Game 5 of the 1985 Eastern Conference Finals between the Boston Celtics and the Philadelphia 76ers, where Larry Bird made a last-second steal which sealed the win and the Eastern Conference Championship for the Celtics. After the 1989–90 season, Barry became the color analyst for the Atlanta Hawks' games that aired on TBS, paired with Skip Caray.
In a rare non-sports venture, he hosted the pilot for the mid-1980s game show Catchphrase; however, when the series debuted in the fall of 1985, game show veteran Art James replaced him (the series itself was short-lived in the US, but was brought over to the UK and is still running).
In September 2001, Barry began hosting a sports talk show on KNBR in San Francisco until June 2003, when KNBR paired him up with Rod Brooks to co-host a show named Rick and Rod. The show aired on KNBR until August 2006, when Barry left the station abruptly for reasons not disclosed to the public.
Personal life
Barry is of Irish, English, French, and Lithuanian descent. He was a member of the Kappa Sigma fraternity. He resides in Colorado Springs, Colorado with his wife, Lynn Norenberg Barry. While their youngest son, Canyon, played basketball for The University of Florida, to watch him play, they rented a condominium in Gainesville, Florida.
He has four sons and a daughter with his first wife Pam: Scooter, Jon, Brent, Drew and Shannon. All of Barry's sons were professional basketball players. Barry wrote an autobiography, Confessions of a Basketball Gypsy: The Rick Barry Story with Bill Libby that was published in 1972. He also has a son, Canyon, with his third wife, Lynn Barry, who is a professional player, playing for Chinese club Hunan Jinjian Miye in the 2018–19 season.
When his son Brent won the NBA Championship in 2005 with the San Antonio Spurs, Rick and Brent became the second father-son duo to both win NBA Championships as players, following Matt Guokas Sr. and Matt Guokas Jr. Later, this would be repeated by Bill and Luke Walton, and Mychal and Klay Thompson.
Jon and Brent have also moved to broadcasting after retirement. Jon serves as a game analyst on ESPN while Brent worked as a studio and game analyst on TNT and NBA TV until 2018 when he took a job with the San Antonio Spurs to be vice president of basketball operations.
Scooter won titles in the CBA and the top Belgian League.
Career achievements
Roselle Park High School – Roselle Park, New Jersey (1957–1961)
Two-time All-State selection
University of Miami (1961–1965)
Associated Press First-Team All-America (1965)
The Sporting News All-America Second Team (1965)
Consensus All-America (1965)
Led the nation in scoring (37.4 ppg) as a senior
NBA San Francisco Warriors (1965–1967)
NBA Rookie of the Year (1966)
NBA All-Rookie First Team (1966)
NBA leading scorer in 1967 (35.6 ppg)
ABA leading scorer in 1969 (34.0 ppg)
NBA highest free-throw percentage 1973, 1975, 1976, 1978, 1979, 1980
ABA highest free-throw percentage 1969, 1971, 1972
NBA All-Star Game MVP (1967)
ABA Oakland Oaks (1968–1969)
ABA Washington Caps (1969–1970)
ABA New York Nets (1970–1972)
NBA Golden State Warriors (1972–1978)
All-NBA Second Team (1973)
NBA Finals MVP (1975)
NBA champion (1975)
NBA Houston Rockets (1978–1979)
All-NBA First Team (1966, 1967, 1974, 1975, 1976)
Eight-time NBA All-Star (1966, 1967, 1973–1978)
ABA All-Star First Team (1969–1972)
NBA 50 Greatest Players (1996)
NBA 75 Greatest Players (2021)
Bay Area Sports Hall of Fame (1988)
Sports Hall of Fame of New Jersey (1994)
University of Miami Sports Hall of Fame (1976)
Golden Plate Award of the American Academy of Achievement (1975)
15 games in NBA career scoring 50 or more points (5th in NBA history)
115 games in professional career scoring 40 or more points — 70 NBA, 45 ABA (4th in professional basketball history after Wilt Chamberlain, Michael Jordan and Kobe Bryant)
NBA records
Regular season
Only player in history to lead the NCAA, ABA and NBA in scoring
Led the NCAA in scoring in 1964–65 (973 points, 37.4 ppg)
Led the NBA in scoring in (2,775 points, 35.6 ppg)
Led the ABA in scoring in (1,190 points; 34.0 ppg)
Youngest player to score 57 points in a game: (57 points, San Francisco Warriors at New York Knicks, )
Free throws, consecutive, ABA game: 23, at Kentucky Colonels,
Assists, forward, game: 19, at Chicago Bulls, November 30, 1976
Playoffs
Scoring 30 or more points in all games, any playoff series: 6 games, vs. Philadelphia 76ers, 1967 NBA Finals
Points, 7-game ABA series: 281, vs. Denver Rockets, 1970 semifinals
Points scored, Game 7, any ABA-NBA playoff series: 52, at Denver Rockets,
Field goal attempts, 6-game series: 235, vs. Philadelphia 76ers, 1967 NBA Finals
Field goal attempts, game: 48, vs. Philadelphia 76ers,
Field goal attempts, quarter: 17, at Philadelphia 76ers,
Steals, quarter: 4, second quarter, at Chicago Bulls,
Tied with many other players
NBA Finals
Highest scoring average (career): 36.3
Scoring 30 or more points in all games, any championship series: 6 games, vs. Philadelphia 76ers, 1967 NBA Finals
Tied with Elgin Baylor, Michael Jordan, Hakeem Olajuwon, Shaquille O'Neal, and Kevin Durant.
Field goals made, game: 22, vs. Philadelphia 76ers,
Tied with Elgin Baylor
Field goal attempts, 6-game series: 235, vs. Philadelphia 76ers, 1967 NBA Finals
Field goal attempts, game: 48, vs. Philadelphia 76ers,
Field goal attempts, quarter: 17, at Philadelphia 76ers,
Steals, 4-game series: 14, vs. Washington Bullets, 1975 NBA Finals (3.5 spg)
All-Star
Field goal attempts, game: 27 (1967)
Steals, game: 8 (1975)
Personal fouls, game: 6, twice (1966, 1978)
Disqualifications, career: 2
Tied with Bob Cousy
See also
American Basketball Association (2000–present)
List of individual National Basketball Association scoring leaders by season
List of National Basketball Association players with most points in a game
List of National Basketball Association players with most steals in a game
List of National Basketball Association players with 50 or more points in a playoff game
List of NCAA Division I men's basketball players with 2000 points and 1000 rebounds
References
External links
Basketball Hall of Fame profile
RememberTheABA.com Rick Barry page
1972 Jim O'Brien biographical article on Rick Barry
Rick Barry and Rod Brooks Home Page at KNBR Radio
Rick Barry Career Statistics
A Voice Crying in the Wilderness
1944 births
Living people
All-American college men's basketball players
American Basketball Association announcers
American men's basketball players
American people of Lithuanian descent
American sports radio personalities
Basketball coaches from New Jersey
Basketball players from Colorado Springs, Colorado
Basketball players from New Jersey
Big3 coaches
Continental Basketball Association coaches
Golden State Warriors players
Golf writers and broadcasters
Houston Rockets players
Miami Hurricanes men's basketball players
Naismith Memorial Basketball Hall of Fame inductees
National Basketball Association All-Stars
National Basketball Association broadcasters
National Basketball Association players with retired numbers
New York Nets players
Oakland Oaks players
People from Roselle Park, New Jersey
Radio personalities from San Francisco
San Francisco Warriors draft picks
San Francisco Warriors players
Small forwards
Sportspeople from Elizabeth, New Jersey
Tennis commentators
United States Basketball League coaches
Washington Caps players
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"Where You Come From may refer to:\n\n\"Where You Come From\", a 2018 song by Disclosure\n\"Where You Come From\", a song by DJ Khaled from his 2021 album Khaled Khaled\n\"Where You Come From\", a song by Pantera from their 1997 album Official Live: 101 Proof"
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"I don't know."
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who did Rick Barry play with
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Rick Barry
|
After the 1966-67 season, Barry became one of the first NBA players to jump to the American Basketball Association when he signed with the Oakland Oaks. In the ABA's first season, the Oaks were the only ABA team located in the same market as an NBA team (the Warriors). The Warriors went to court and prevented Barry from playing for the Oaks during the 1967-68 season. Barry instead worked on Oaks radio broadcasts during the ABA's first season. During the 1968-69 season Barry suited up for the Oaks and averaged 34 points per game. He also led the ABA in free throw percentage for the season (a feat he repeated in the 1970-71 and 1971-72 seasons). However, on December 27, 1968, late in a game against the New York Nets, Barry and Kenny Wilburn collided and Barry tore ligaments in his knee. He tried to play again in January but only aggravated the injury and sat out the rest of the season, only appearing in 35 games as a result. Despite the injury Barry was named to the ABA All-Star team. The Oaks finished with a record of 60-18, winning the Western Division by 14 games over the second place New Orleans Buccaneers. In the 1969 ABA Playoffs the Oaks defeated the Denver Rockets in a seven-game series and then defeated New Orleans in the Western Division finals. In the finals the Oaks defeated the Indiana Pacers 4 games to 1 to win the 1969 ABA Championship. The Oaks' on-court success had not translated into solid attendance. The team averaged 2,800 fans per game. Instead of remaining in Oakland for another season to see if the championship would draw fans, the team was sold by owner Pat Boone and relocated to Washington, D.C. for the 1969-70 season. CANNOTANSWER
|
). However, on December 27, 1968, late in a game against the New York Nets,
|
Richard Francis Dennis Barry III (born March 28, 1944) is an American retired professional basketball player who played in both the American Basketball Association (ABA) and National Basketball Association (NBA). Named one of the 50 Greatest Players in history in 1996 and 75 Greatest Players in history in 2021, each in a league-wide vote of media, analysts, current and former players and team executives, Barry ranks among the most prolific scorers and all-around players in basketball history. He is the only one to lead the National Collegiate Athletic Association (NCAA), ABA, and NBA in points per game in a season. He ranks as the all-time ABA scoring leader in regular season (30.5 points per game) and postseason (33.5) play, while his 36.3 points per game are the most in the NBA Finals history. Barry also is the only player to reach the 50-point mark in a Game 7 of the playoffs in either league. He is one of only four players to be a part of a championship team in both leagues.
Barry is widely known for his unorthodox but extraordinarily effective underhand free throw technique. His career .880 free throw percentage ranks No. 1 in ABA history, and at the time of his retirement in 1980, his .900 percentage was the best of any NBA player. In 1987, he was inducted into the Naismith Memorial Basketball Hall of Fame. In October 2021, Barry was honored as one of the league's greatest players of all-time by being named to the NBA 75th Anniversary Team.
Barry is the father of former professional basketball players Brent Barry, Jon Barry, Drew Barry, and Scooter Barry, and current professional player Canyon Barry. His wife, Lynn Norenberg Barry, was a star basketball player at the College of William & Mary, where she became the first female athlete to have her jersey number (22) retired.
Early years and college career
Barry grew up in Roselle Park, New Jersey, where baseball was his best sport as a youth. He grew up a fan of local New York Giants star Willie Mays, who wore jersey number 24, and Barry would wear the same number in tribute to the outfielder throughout his basketball career. In 1962, Barry graduated from Roselle Park High School.
Barry decided to attend the University of Miami, largely because the Hurricanes adhered to an up-tempo, pro-style system under head coach Bruce Hale that was conducive to his skills and athleticism. It was there that the three-time All-American met his future wife Pamela, who was the daughter of the head coach. As a senior, Barry led the NCAA with a 37.4 points per game average in the 1964–65 campaign. He and his teammates did not take part in the NCAA Tournament, however, because the Hurricanes basketball program was on probation at the time.
Barry was drafted by the San Francisco Warriors with the second pick of the 1965 NBA draft. He had hoped to be selected by the New York Knicks, his hometown team, but they opted for local Princeton star Bill Bradley in round one instead. It was a slight that Barry would not soon forget. In his second visit to Madison Square Garden as a pro, he went off for 57 points versus the Knicks, including 21 free throws in 22 attempts. He also grabbed 15 rebounds in the 141–137 loss.
Professional playing career
San Francisco Warriors
In Barry's first season in the NBA with the Warriors, the team made a quantum leap from 17 to 35 victories and were in playoff contention until the final game of the regular season. In the All-Star Game one season later, Barry erupted for 38 points as the West team stunned the East team, which featured Wilt Chamberlain, Oscar Robertson, Bill Russell and head coach Red Auerbach among other all-time greats. Later that season, Barry and company extended the mighty Philadelphia 76ers to six highly competitive games in the NBA Finals, something that Russell and the Boston Celtics could not do in the Eastern Conference playoffs.
Nicknamed the "Miami Greyhound" by longtime San Francisco Bay Area broadcaster Bill King because of his long and slender physical build, whippet-like quickness and remarkable instincts, the Barry won the NBA Rookie of the Year Award after averaging 25.7 points and 10.6 rebounds per game in the 1965–66 season. The following year, he won the 1967 NBA All-Star Game MVP award with a 38-point outburst and led the NBA in scoring with a 35.6 point per game average — which still ranks as the eighth-highest output in league annals.
Along with All-Star center Nate Thurmond, Barry carried the Warriors to the 1967 NBA Finals, which they lost to the Philadelphia 76ers in six games. Despite an injured left knee that required cortisone shots on game days, Barry averaged 40.8 points per game in the series, an NBA Finals record that stood for three decades. "The guy was so good that we had to have three different guys guard him at different times," Chamberlain said. "'Cause he would run them all ragged."
Joining the ABA
At odds with Warriors owner Franklin Mieuli over unpaid incentive monies due him, Barry shocked the basketball world when he jumped to the ABA's Oakland Oaks, who overwhelmed him with a historic contract offer. Barry became the first marquee NBA player to jump to the rival league. Not only was the three-year agreement worth a reported $500,000, which would make him one of basketball's highest-paid players, it afforded him the opportunity to play for his former college coach Bruce Hale, who was also his father-in-law. In addition, Barry received 15 percent ownership in the franchise as well as 5 percent of all ticket sales in excess of $600,000 for home games. The ground-breaking deal led him to remark, "The offer Oakland made me was one I simply couldn't turn down."
The courts ordered Barry to sit out the 1967–68 season for the Oaks, upholding the validity of the reserve clause in his contract. At the time, all NBA teams had one-year options on player contracts, however, and the Warriors were quick to exercise theirs. He preceded St. Louis Cardinals' outfielder Curt Flood, whose better-known challenge to the reserve clause went all the way to the U.S. Supreme Court, by two years as the first American major-league professional athlete to bring a court action against it. The ensuing negative publicity cast Barry in a negative light, portraying him as selfish and money hungry. He was hardly alone in his vision, however, as numerous NBA players also saw the rival league as a rare opportunity to enhance their careers.
Oakland Oaks
The Oaks finished 22–56 in their ABA debut, which Barry spent as part of their broadcast team. Prior to the 1968–69 season, they hired his former San Francisco Warriors coach Alex Hannum to replace Hale, who moved to a front office position. If there was any question about whether Barry would remain the most dominant player in professional basketball, he quickly answered it. In his ABA debut, he averaged a league-high 34.0 points per game and the Oaks became the first West Coast team to capture a league championship in professional basketball history. Barry also paced the league in free-throw percentage in the regular season, a feat he would repeat in the 1970–71 and 1971–72 seasons.
Barry had his season come to an abrupt halt on December 27, 1968, when late in a game against the New York Nets, he was blindsided by Ken Wilburn on a drive to the basket and tore left knee ligaments on the play. He attempted to come back in January 1969, only to aggravate the injury and sit out the remainder of the season. He took part in only 35 games but still was named to the ABA All-Star team.
Even without the arguably the best all-around player in basketball, the Oaks barely skipped a beat. They finished with a 60–18 record under Hannum, dominating the Western Division by 14 games over the second-place New Orleans Buccaneers. In the 1969 ABA Playoffs, the Oaks ousted the Denver Rockets in a seven-game series then swept the Buccaneers in the Western Division finals. In the championship round, they made short work of the Indiana Pacers, 4–1, to capture the league title.
In lieu of a parade in downtown Oakland, a modest victory celebration was held at a restaurant in Jack London Square. It was there that Barry announced, "I see no hope for the rest of the teams in the league."
Washington Caps
Despite their on-court excellence, the Oaks were a disappointment at the gate, partly because of Barry's absence in the final five months of the season, partly because they were the only ABA member that competed in the same market as an NBA team, that being the more established Warriors across the bay. They averaged just 2,800 fans per home game at the state-of-the-art Oakland County Coliseum Arena, slightly more than the league average. By that time, entertainer-business entrepreneur Pat Boone had become the majority team owner, and after more than $2 million in losses over two seasons, he wanted out of the basketball business. In August 1968, the franchise was sold to a group headed by real estate attorney and former Baltimore Bullets owner Earl Foreman, who immediately moved it to Washington, D.C., even though there was no suitable arena in the vicinity at the time.
Reluctantly, Barry played the 1969–70 season with the ABA's Washington Caps. He refused to report to the team at the outset, at one point commenting, "If I wanted to go to Washington, I'd run for president!" He missed the first 32 games before he joined the team, which played in the Western Division, making for a grueling travel schedule. The Caps still managed to finish with a respectable 44–40 record, good for third place in the Western Division. Appearing in only 52 games because of a knee injury, Barry finished the season with 1,442 points (27.7 per game), second-best in the league. The Denver Rockets edged the Caps, 4–3, in the Western Division semifinals. In Game 7 on the road, Barry went off for 52 points, the most scored in a seventh and deciding game in professional basketball history.
Virginia Squires
The Washington Caps became the Virginia Squires after the 1969–70 season, but Barry was openly despondent about playing in Virginia. At the same time, he wanted to continue playing in the ABA. Featured on the August 24, 1970, cover of Sports Illustrated in a Squires jersey, he indicated that he would not return to the NBA if the league paid him "a million dollars a year." He denounced the Squires (and, subsequently, never suited up for them), saying he did not want his kids growing up with a Southern accent. On September 1, 1970, the Squires traded Barry to the New York Nets for a draft pick and $200,000. The negative comments were not the primary reason; rather, Squires owner Earl Foreman was mired in financial troubles and sold Barry to help meet expenses.
New York Nets
After the Squires dealt Barry to the New York Nets, he played in only 59 games in the 1970–71 season because of a knee injury but still made the ABA All Star team. He repeated as an ABA All Star during the 1971–72 season. During the 1970–71 season he led the league in scoring (29.4 points per game) and led the league again in 1971–72 with 31.5 points per game. In both of those years he also led the ABA in free throw percentage as he had in 1968–69. Barry also became the ABA record holder for most consecutive free throws in one game with 23.
In the 1970–71 season, the Nets finished 40–44, good for fourth place in the Eastern Division and a place in the 1971 ABA Playoffs. The Virginia Squires defeated the Nets 4 games to 2 in the Eastern Division semifinals. The 1971–72 Nets finished the season at 44–40, making the 1972 ABA Playoffs by claiming third place in the Eastern Division, 24 games behind the 68–16 Kentucky Colonels. In the Eastern Division semifinals the Nets shocked the ABA by defeating the Colonels 4 games to 2. The Nets then eked out a 4–3 game victory over the Virginia Squires in the Eastern Division finals. The Nets were then edged by the Western Division champion Indiana Pacers, 4 games to 2, in the 1972 ABA Finals.
On June 23, 1972, a United States District Court judge issued a preliminary injunction to prohibit Barry from playing for any team other than the Golden State Warriors after his contract with the Nets ended. On October 6, 1972, the Nets released Barry and he returned to the Warriors.
Golden State Warriors
Upon Barry's return to the Warriors and the NBA, the cumulative effects of knee problems were taking their toll. Barry gradually moved his game away from the basket, where he became the first so-called point forward in league history. That is, Barry took on a role similar to that of a point guard and became the chief facilitator of the offense. While his offensive forays were not as frequent as in the past, he remained an elite scorer as evidenced by his performance on March 26, 1974, when he went off for a career-high 64 points and grabbed 10 rebounds in a 143–120 win over the visiting Portland Trail Blazers.
In 1974–75, the Warriors had a Cinderella season for the ages. The turnaround began in training camp, when Barry was elected captain by his teammates. They went on to capture the Pacific Division crown as Barry responded with the best all-around season of his career. Not only did he average 30.6 points per game, but he also led the league in free throw percentage (.904) and steals per game (2.9) and ranked sixth in assists per game (6.2), the only forward among the top 10 in the category.
In the playoffs, the upstart Warriors turned back the Seattle SuperSonics and Chicago Bulls to capture the Western Conference crown. In the NBA Finals, they shocked the basketball world with a historic four-game sweep of Elvin Hayes, Wes Unseld and the Washington Bullets, widely considered to be the greatest postseason upset in NBA history. The Bullets had posted a league-high 60 victories, 12 more than the Warriors total in the regular season, which led many experts to predict that they would win the series easily. Barry was named NBA Finals Most Valuable Player on the strength of 29.5 points, 5.0 assists and 3.5 steals per game, not to mention his profound impact in a leadership role.
In the 1975 NBA draft, the Warriors selected point guard Gus Williams in the first round. While Williams made immediate contributions off the bench, off guard Phil Smith came into his own in his second season. Barry was not required to carry the team as often, and his scoring average dipped to 21.0 points per game as a result. As the deepest and most athletic team in professional basketball, the Warriors repeated as Pacific Division champions, this time with a league-best 59–23 record. They entered the playoffs as clear-cut favorites to return to the NBA Finals.
After an unusual 10-day layoff, partly to accommodate network television, the Warriors eliminated the Detroit Pistons in round one then were upset in the Western Conference finals by the Phoenix Suns in seven games. The final contest was marred by a fight between Barry and Suns rookie Ricky Sobers away from the ball in the first quarter, during which none of the Warriors came to his aid at the opposite side of the court. Suns broadcaster Al McCoy concocted a narrative that Barry quit in the second half, a charge that lacked tangible evidence and he steadfastly denied. In fact, Barry led his team in points and shot attempts that game. Rather, he said his intent was to get more teammates involved in the third quarter, the game plan that had allowed them to dominate in the regular season.
In the 1976–77 campaign, the Warriors won 46 games the next season with Barry, Smith, and Williams sharing scoring and ball-handling, but were ousted in the second round by the Los Angeles Lakers. Reportedly, Barry and Williams clashed over the ball-handling role, and Williams was traded after the season to the Seattle SuperSonics. Barry averaged 23.1 points per game in his farewell season (1977–78) with the Warriors, but the team failed to make the playoffs.
Houston Rockets
Barry finished his career with the Houston Rockets, playing through the 1979–80 NBA season. The Rockets signed him as a free agent in June, 1978, and the league awarded veteran guard John Lucas to the Warriors as compensation.
In the twilight of his career, Barry continued to make history. In his Rockets debut, he assumed a new role as the first player off the bench. It was not long before he elevated the point forward position to another level. Barry finished with a career-high 502 assists to become the first true small forward to reach the 500 mark in one season. Until then, swingman John Havlicek had been the only forward with as many as 500 assists in a season, but the Boston Celtics swingman also spent considerable time at the off guard spot. Barry averaged 13.5 points per game and established a new NBA record (since broken) with a .947 free throw percentage.
Barry was less of a factor in his final season. The Rockets were swept by the Celtics in the 1980 Eastern Conference semifinals, and when contract talks with Boston and the Seattle SuperSonics failed to produce a contract, he decided to retire.
NBA career statistics
Regular season
|-
| style="text-align:left;"|
| style="text-align:left;"|San Francisco
| style="background:#cfecec;"|80* || || 37.4 || .439 || || .862 || 10.6 || 2.2 || || || 25.7
|-
| style="text-align:left;"|
| style="text-align:left;"|San Francisco
| 78 || || 40.7 || .451 || || .884 || 9.2 || 3.6 || || || style="background:#cfecec;"|35.6*
|-
| style="text-align:left;"|
| style="text-align:left;"|Golden State
| style="background:#cfecec;"|82* || || 37.5 || .452 || || style="background:#cfecec;"|.902* || 8.9 || 4.9 || || || 22.3
|-
| style="text-align:left;"|
| style="text-align:left;"|Golden State
| 80 || || 36.5 || .456 || || .899 || 6.8 || 6.1 || 2.1 || 0.5 || 25.1
|-
| style="text-align:left; background:#afe6ba;"|†
| style="text-align:left;"|Golden State
| 80 || || 40.4 || .464 || || style="background:#cfecec;"|.904* || 5.7 || 6.2 || style="background:#cfecec;"|2.9* || 0.4 || 30.6
|-
| style="text-align:left;"|
| style="text-align:left;"|Golden State
| 81 || || 38.5 || .435 || || style="background:#cfecec;"|.923* || 6.1 || 6.1 || 2.5 || 0.3 || 21.0
|-
| style="text-align:left;"|
| style="text-align:left;"|Golden State
| 79 || || 36.8 || .440 || || .916 || 5.3 || 6.0 || 2.2 || 0.7 || 21.8
|-
| style="text-align:left;"|
| style="text-align:left;"|Golden State
| 82 || || 36.9 || .451 || || style="background:#cfecec;"|.924* || 5.5 || 5.4 || 1.9 || 0.5 || 23.1
|-
| style="text-align:left;"|
| style="text-align:left;"|Houston
| 80 || || 32.1 || .461 || || style="background:#cfecec;"|.947* || 3.5 || 6.3 || 1.2 || 0.5 || 13.5
|-
| style="text-align:left;"|
| style="text-align:left;"|Houston
| 72 || || 25.2 || .422 || .330 || style="background:#cfecec;"|.935* || 3.3 || 3.7 || 1.1 || 0.4 || 12.0
|- class=sortbottom
| style="text-align:center;" colspan="2"|Career
| 794 || || 36.3 || .449 || .330 || .900 || 6.5 || 5.1 || 2.0 || 0.5 || 23.2
Later years
During the 1990s, he coached the Cedar Rapids Sharpshooters of the Global Basketball Association and the Continental Basketball Association, guiding the Fort Wayne Fury to a 19–37 win-loss record in 1993–94. In 1998 and 1999, he served as head coach of the New Jersey ShoreCats of the United States Basketball League. Former Warriors teammate Clifford Ray was his top assistant.
Barry finished second in his division at the 2005 World Long Drive Championship.
Barry is part owner and promoter for the Ektio basketball shoe, which doctor and former college basketball player Barry Katz designed to reduce ankle injuries. He also serves on the company's Board of Directors.
Broadcasting career
Barry was among the first professional basketball players to make a successful transition to the broadcasting profession. He began broadcasting during the 1967–68 season broadcasting Oakland Oaks games because of contractual matters that kept him off the court. Barry continues to work in the field, a career that began with his own radio show in San Francisco and CBS while still an active player and then with TBS.
While working as a CBS analyst during Game 5 of the 1981 NBA Finals, Barry made a controversial comment when CBS displayed an old photo of colleague Bill Russell, who is African-American. He tried to joke that "it looks like some fool over there with that big watermelon grin". Barry later apologized for the comment, claiming that he did not realize that a reference to watermelons had racial overtones. Russell said that he believed Barry with regard to Barry's racial attitudes, but nonetheless, the two men are reported not to have been particularly friendly for other reasons, unrelated to that comment.
CBS did not renew Barry's employment for the subsequent season. Producers later cited the general negative tone of his game commentary, which did not sit well with some players and agents around the league. The next season Barry filled in on a few Seattle SuperSonics broadcasts, but a plan for a full-time position fell through when he insisted that his then-wife be allowed to join him when the team was on the road, which would have been contrary to team policy. The next year, Barry was featured in a lengthy Sports Illustrated article written by Tony Kornheiser in which he lamented the failure of his broadcasting career to that point, as well as the fact that he'd left a reputation within NBA circles for being an unlikeable person. After this, Barry worked with TBS and later on, TNT into the 1989–90 season, mostly as a color analyst but sometimes as a play-by-play announcer paired with Bill Russell. One of the more notable games Barry called as play-by-play announcer on TBS was Game 5 of the 1985 Eastern Conference Finals between the Boston Celtics and the Philadelphia 76ers, where Larry Bird made a last-second steal which sealed the win and the Eastern Conference Championship for the Celtics. After the 1989–90 season, Barry became the color analyst for the Atlanta Hawks' games that aired on TBS, paired with Skip Caray.
In a rare non-sports venture, he hosted the pilot for the mid-1980s game show Catchphrase; however, when the series debuted in the fall of 1985, game show veteran Art James replaced him (the series itself was short-lived in the US, but was brought over to the UK and is still running).
In September 2001, Barry began hosting a sports talk show on KNBR in San Francisco until June 2003, when KNBR paired him up with Rod Brooks to co-host a show named Rick and Rod. The show aired on KNBR until August 2006, when Barry left the station abruptly for reasons not disclosed to the public.
Personal life
Barry is of Irish, English, French, and Lithuanian descent. He was a member of the Kappa Sigma fraternity. He resides in Colorado Springs, Colorado with his wife, Lynn Norenberg Barry. While their youngest son, Canyon, played basketball for The University of Florida, to watch him play, they rented a condominium in Gainesville, Florida.
He has four sons and a daughter with his first wife Pam: Scooter, Jon, Brent, Drew and Shannon. All of Barry's sons were professional basketball players. Barry wrote an autobiography, Confessions of a Basketball Gypsy: The Rick Barry Story with Bill Libby that was published in 1972. He also has a son, Canyon, with his third wife, Lynn Barry, who is a professional player, playing for Chinese club Hunan Jinjian Miye in the 2018–19 season.
When his son Brent won the NBA Championship in 2005 with the San Antonio Spurs, Rick and Brent became the second father-son duo to both win NBA Championships as players, following Matt Guokas Sr. and Matt Guokas Jr. Later, this would be repeated by Bill and Luke Walton, and Mychal and Klay Thompson.
Jon and Brent have also moved to broadcasting after retirement. Jon serves as a game analyst on ESPN while Brent worked as a studio and game analyst on TNT and NBA TV until 2018 when he took a job with the San Antonio Spurs to be vice president of basketball operations.
Scooter won titles in the CBA and the top Belgian League.
Career achievements
Roselle Park High School – Roselle Park, New Jersey (1957–1961)
Two-time All-State selection
University of Miami (1961–1965)
Associated Press First-Team All-America (1965)
The Sporting News All-America Second Team (1965)
Consensus All-America (1965)
Led the nation in scoring (37.4 ppg) as a senior
NBA San Francisco Warriors (1965–1967)
NBA Rookie of the Year (1966)
NBA All-Rookie First Team (1966)
NBA leading scorer in 1967 (35.6 ppg)
ABA leading scorer in 1969 (34.0 ppg)
NBA highest free-throw percentage 1973, 1975, 1976, 1978, 1979, 1980
ABA highest free-throw percentage 1969, 1971, 1972
NBA All-Star Game MVP (1967)
ABA Oakland Oaks (1968–1969)
ABA Washington Caps (1969–1970)
ABA New York Nets (1970–1972)
NBA Golden State Warriors (1972–1978)
All-NBA Second Team (1973)
NBA Finals MVP (1975)
NBA champion (1975)
NBA Houston Rockets (1978–1979)
All-NBA First Team (1966, 1967, 1974, 1975, 1976)
Eight-time NBA All-Star (1966, 1967, 1973–1978)
ABA All-Star First Team (1969–1972)
NBA 50 Greatest Players (1996)
NBA 75 Greatest Players (2021)
Bay Area Sports Hall of Fame (1988)
Sports Hall of Fame of New Jersey (1994)
University of Miami Sports Hall of Fame (1976)
Golden Plate Award of the American Academy of Achievement (1975)
15 games in NBA career scoring 50 or more points (5th in NBA history)
115 games in professional career scoring 40 or more points — 70 NBA, 45 ABA (4th in professional basketball history after Wilt Chamberlain, Michael Jordan and Kobe Bryant)
NBA records
Regular season
Only player in history to lead the NCAA, ABA and NBA in scoring
Led the NCAA in scoring in 1964–65 (973 points, 37.4 ppg)
Led the NBA in scoring in (2,775 points, 35.6 ppg)
Led the ABA in scoring in (1,190 points; 34.0 ppg)
Youngest player to score 57 points in a game: (57 points, San Francisco Warriors at New York Knicks, )
Free throws, consecutive, ABA game: 23, at Kentucky Colonels,
Assists, forward, game: 19, at Chicago Bulls, November 30, 1976
Playoffs
Scoring 30 or more points in all games, any playoff series: 6 games, vs. Philadelphia 76ers, 1967 NBA Finals
Points, 7-game ABA series: 281, vs. Denver Rockets, 1970 semifinals
Points scored, Game 7, any ABA-NBA playoff series: 52, at Denver Rockets,
Field goal attempts, 6-game series: 235, vs. Philadelphia 76ers, 1967 NBA Finals
Field goal attempts, game: 48, vs. Philadelphia 76ers,
Field goal attempts, quarter: 17, at Philadelphia 76ers,
Steals, quarter: 4, second quarter, at Chicago Bulls,
Tied with many other players
NBA Finals
Highest scoring average (career): 36.3
Scoring 30 or more points in all games, any championship series: 6 games, vs. Philadelphia 76ers, 1967 NBA Finals
Tied with Elgin Baylor, Michael Jordan, Hakeem Olajuwon, Shaquille O'Neal, and Kevin Durant.
Field goals made, game: 22, vs. Philadelphia 76ers,
Tied with Elgin Baylor
Field goal attempts, 6-game series: 235, vs. Philadelphia 76ers, 1967 NBA Finals
Field goal attempts, game: 48, vs. Philadelphia 76ers,
Field goal attempts, quarter: 17, at Philadelphia 76ers,
Steals, 4-game series: 14, vs. Washington Bullets, 1975 NBA Finals (3.5 spg)
All-Star
Field goal attempts, game: 27 (1967)
Steals, game: 8 (1975)
Personal fouls, game: 6, twice (1966, 1978)
Disqualifications, career: 2
Tied with Bob Cousy
See also
American Basketball Association (2000–present)
List of individual National Basketball Association scoring leaders by season
List of National Basketball Association players with most points in a game
List of National Basketball Association players with most steals in a game
List of National Basketball Association players with 50 or more points in a playoff game
List of NCAA Division I men's basketball players with 2000 points and 1000 rebounds
References
External links
Basketball Hall of Fame profile
RememberTheABA.com Rick Barry page
1972 Jim O'Brien biographical article on Rick Barry
Rick Barry and Rod Brooks Home Page at KNBR Radio
Rick Barry Career Statistics
A Voice Crying in the Wilderness
1944 births
Living people
All-American college men's basketball players
American Basketball Association announcers
American men's basketball players
American people of Lithuanian descent
American sports radio personalities
Basketball coaches from New Jersey
Basketball players from Colorado Springs, Colorado
Basketball players from New Jersey
Big3 coaches
Continental Basketball Association coaches
Golden State Warriors players
Golf writers and broadcasters
Houston Rockets players
Miami Hurricanes men's basketball players
Naismith Memorial Basketball Hall of Fame inductees
National Basketball Association All-Stars
National Basketball Association broadcasters
National Basketball Association players with retired numbers
New York Nets players
Oakland Oaks players
People from Roselle Park, New Jersey
Radio personalities from San Francisco
San Francisco Warriors draft picks
San Francisco Warriors players
Small forwards
Sportspeople from Elizabeth, New Jersey
Tennis commentators
United States Basketball League coaches
Washington Caps players
| false |
[
"John B. Podesto, nicknamed Presto Podesto from Modesto (March 26, 1921 – November 13, 2015) was an American football quarterback and halfback who played for the St. Mary's Gaels. He was drafted in the first round (10th overall) in the 1944 NFL Draft by the Pittsburgh Steelers but did not play for them. He later was signed by the Chicago Bears but did not play with them either.\n\nEarly life and education\nPodesto was born on March 26, 1921 in Modesto, California to Giovannia and Maria Podesto. He was the youngest of nine children. He attended Modesto High School and Modesto Junior College before continuing his education at Saint Mary's University and College of the Pacific. He excelled at baseball and football while at Modesto, Saint Mary's, and College of the Pacific. He played quarterback and halfback when he was in football. In 1943, under coach Amos Alonzo Stagg, Podesto was named All-American while at Pacific. While playing from 1941 to 1943, and from 1944 to 1945, Podesto entered the Marine Corps and achieved the rank of captain while in World War II.\n\nProfessional career\nPodesto was drafted with the 10th pick in the 1940 NFL Draft by the Pittsburgh Steelers. He was serving in the marines from 1944 to 1945 so he could not play with them. In 1946, he signed with the team. However, Podesto did not play with the Steelers. The next season he signed with the Chicago Bears but did not play with them, either.\n\nLater life\nAfter Podesto's sports career, he was a successful business owner. He worked with the Modesto Tallow Company for over 50 years. He died on November 13, 2015 at the age of 94. At the time of his death he had 5 children, 12 grandchildren, and 2 great-grandchildren.\n\nReferences\n\nExternal links\n \n\n1921 births\n2015 deaths\nSaint Mary's Gaels football players\nSaint Mary's Gaels baseball players\nPacific Tigers football players\nPacific Tigers baseball players\nPlayers of American football from California",
"Charles James Bowles (March 15, 1917 in Norwood, Massachusetts, United States – December 23, 2003 in Newton, North Carolina, United States) was a right-handed Major League Baseball pitcher who played for the Philadelphia Athletics in 1943 and 1945. He later managed in the minor leagues.\n\nPlaying career\nBowles began his professional career in 1937 with the Beckley Bengals, at the age of 20. He went 16–7 with a 3.83 ERA in 27 games (19 starts) that year. He spent 1938 with the Welch Miners and Bluefield Blue-Grays, going a combined 8–11 with a 5.20 ERA in 27 games. He played with Welch again in 1939, going 9–8 with a 5.43 ERA in 20 games (16 starts).\n\nHe went 6–3 with a 5.81 ERA in 23 games for the Monroe White Sox in 1940. In 1941, he played for the Monroe White Sox and El Dorado Oilers, going a combined 8–13 with a 6.14 ERA. He split the 1942 season between the Lancaster Red Roses and Richmond Colts, going a combined 10–13 with an unknown overall ERA. His ERA with the Red Roses, however, was 3.22.\n\nHe spent most of 1943 with the Red Roses, going 19–14 with a 3.52 ERA. On September 25, 1943, he made his big league debut. He started two games with the Athletics that year, going 1–1 with a 3.00 ERA. He did not play in 1944, and he made eight appearances for the Athletics in 1945, starting four of the games. That year, he went 0–3 with a 5.13 ERA. On September 19, 1945, he appeared in his final big league game.\n\nAlthough his major league career was over, his professional career was not. He split 1946 between the Red Roses and Atlanta Crackers, going 2–5 in 24 games. With the St. Petersburg Saints in 1947, he went 14–14 with a 3.35 ERA. He was with the Palatka Azaleas and St. Petersburg Saints in 1948, going a combined 8–7 with a 4.44 ERA in 33 games. He spent part of the year as the Azaleas' manager, his first foray into minor league managing.\n\nIn 1949, he was one of a few managers for the Salisbury Pirates. He did not play at all that year. Similarly, he did not play in 1950, as he served as the Waterbury Timers manager for part of the season. Again, in 1951 he did not play at all, as he served as manager of the Granite Falls Graniteers for part of the season.\n\nHe resumed playing in 1952, though on a limited basis - in 1952 with the Charleston Senators, he went 0–1 with a 58.50 ERA in two games. He also managed the Hickory Rebels for part of the 1952 season. He played in 23 games, making six starts, for the Wilkes-Barre Barons in 1953, going 4–2 with a 3.08 ERA. He finished his career in 1954, appearing in one game for the Winston-Salem Twins.\n\nOverall, he went 1–4 with a 4.38 ERA in 10 major league games (six starts). In the minors, he went 105–98 with an ERA around 4.28 in 324 games.\n\nReferences\n\nExternal links\n\n1917 births\n2003 deaths\nPhiladelphia Athletics players\nBaseball players from Massachusetts\nPeople from Norwood, Massachusetts"
] |
[
"Rick Barry",
"Oakland Oaks",
"when did he join oakland",
"After the 1966-67 season,",
"what did he achieve with them",
"). The Warriors went to court and prevented Barry from playing for the Oaks during the 1967-68 season.",
"where did he come from",
"I don't know.",
"who did he play with",
"). However, on December 27, 1968, late in a game against the New York Nets,"
] |
C_8f7fac246686419095d0aa03c67dc933_0
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did he win award
| 5 |
did Rick Barry win award
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Rick Barry
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After the 1966-67 season, Barry became one of the first NBA players to jump to the American Basketball Association when he signed with the Oakland Oaks. In the ABA's first season, the Oaks were the only ABA team located in the same market as an NBA team (the Warriors). The Warriors went to court and prevented Barry from playing for the Oaks during the 1967-68 season. Barry instead worked on Oaks radio broadcasts during the ABA's first season. During the 1968-69 season Barry suited up for the Oaks and averaged 34 points per game. He also led the ABA in free throw percentage for the season (a feat he repeated in the 1970-71 and 1971-72 seasons). However, on December 27, 1968, late in a game against the New York Nets, Barry and Kenny Wilburn collided and Barry tore ligaments in his knee. He tried to play again in January but only aggravated the injury and sat out the rest of the season, only appearing in 35 games as a result. Despite the injury Barry was named to the ABA All-Star team. The Oaks finished with a record of 60-18, winning the Western Division by 14 games over the second place New Orleans Buccaneers. In the 1969 ABA Playoffs the Oaks defeated the Denver Rockets in a seven-game series and then defeated New Orleans in the Western Division finals. In the finals the Oaks defeated the Indiana Pacers 4 games to 1 to win the 1969 ABA Championship. The Oaks' on-court success had not translated into solid attendance. The team averaged 2,800 fans per game. Instead of remaining in Oakland for another season to see if the championship would draw fans, the team was sold by owner Pat Boone and relocated to Washington, D.C. for the 1969-70 season. CANNOTANSWER
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CANNOTANSWER
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Richard Francis Dennis Barry III (born March 28, 1944) is an American retired professional basketball player who played in both the American Basketball Association (ABA) and National Basketball Association (NBA). Named one of the 50 Greatest Players in history in 1996 and 75 Greatest Players in history in 2021, each in a league-wide vote of media, analysts, current and former players and team executives, Barry ranks among the most prolific scorers and all-around players in basketball history. He is the only one to lead the National Collegiate Athletic Association (NCAA), ABA, and NBA in points per game in a season. He ranks as the all-time ABA scoring leader in regular season (30.5 points per game) and postseason (33.5) play, while his 36.3 points per game are the most in the NBA Finals history. Barry also is the only player to reach the 50-point mark in a Game 7 of the playoffs in either league. He is one of only four players to be a part of a championship team in both leagues.
Barry is widely known for his unorthodox but extraordinarily effective underhand free throw technique. His career .880 free throw percentage ranks No. 1 in ABA history, and at the time of his retirement in 1980, his .900 percentage was the best of any NBA player. In 1987, he was inducted into the Naismith Memorial Basketball Hall of Fame. In October 2021, Barry was honored as one of the league's greatest players of all-time by being named to the NBA 75th Anniversary Team.
Barry is the father of former professional basketball players Brent Barry, Jon Barry, Drew Barry, and Scooter Barry, and current professional player Canyon Barry. His wife, Lynn Norenberg Barry, was a star basketball player at the College of William & Mary, where she became the first female athlete to have her jersey number (22) retired.
Early years and college career
Barry grew up in Roselle Park, New Jersey, where baseball was his best sport as a youth. He grew up a fan of local New York Giants star Willie Mays, who wore jersey number 24, and Barry would wear the same number in tribute to the outfielder throughout his basketball career. In 1962, Barry graduated from Roselle Park High School.
Barry decided to attend the University of Miami, largely because the Hurricanes adhered to an up-tempo, pro-style system under head coach Bruce Hale that was conducive to his skills and athleticism. It was there that the three-time All-American met his future wife Pamela, who was the daughter of the head coach. As a senior, Barry led the NCAA with a 37.4 points per game average in the 1964–65 campaign. He and his teammates did not take part in the NCAA Tournament, however, because the Hurricanes basketball program was on probation at the time.
Barry was drafted by the San Francisco Warriors with the second pick of the 1965 NBA draft. He had hoped to be selected by the New York Knicks, his hometown team, but they opted for local Princeton star Bill Bradley in round one instead. It was a slight that Barry would not soon forget. In his second visit to Madison Square Garden as a pro, he went off for 57 points versus the Knicks, including 21 free throws in 22 attempts. He also grabbed 15 rebounds in the 141–137 loss.
Professional playing career
San Francisco Warriors
In Barry's first season in the NBA with the Warriors, the team made a quantum leap from 17 to 35 victories and were in playoff contention until the final game of the regular season. In the All-Star Game one season later, Barry erupted for 38 points as the West team stunned the East team, which featured Wilt Chamberlain, Oscar Robertson, Bill Russell and head coach Red Auerbach among other all-time greats. Later that season, Barry and company extended the mighty Philadelphia 76ers to six highly competitive games in the NBA Finals, something that Russell and the Boston Celtics could not do in the Eastern Conference playoffs.
Nicknamed the "Miami Greyhound" by longtime San Francisco Bay Area broadcaster Bill King because of his long and slender physical build, whippet-like quickness and remarkable instincts, the Barry won the NBA Rookie of the Year Award after averaging 25.7 points and 10.6 rebounds per game in the 1965–66 season. The following year, he won the 1967 NBA All-Star Game MVP award with a 38-point outburst and led the NBA in scoring with a 35.6 point per game average — which still ranks as the eighth-highest output in league annals.
Along with All-Star center Nate Thurmond, Barry carried the Warriors to the 1967 NBA Finals, which they lost to the Philadelphia 76ers in six games. Despite an injured left knee that required cortisone shots on game days, Barry averaged 40.8 points per game in the series, an NBA Finals record that stood for three decades. "The guy was so good that we had to have three different guys guard him at different times," Chamberlain said. "'Cause he would run them all ragged."
Joining the ABA
At odds with Warriors owner Franklin Mieuli over unpaid incentive monies due him, Barry shocked the basketball world when he jumped to the ABA's Oakland Oaks, who overwhelmed him with a historic contract offer. Barry became the first marquee NBA player to jump to the rival league. Not only was the three-year agreement worth a reported $500,000, which would make him one of basketball's highest-paid players, it afforded him the opportunity to play for his former college coach Bruce Hale, who was also his father-in-law. In addition, Barry received 15 percent ownership in the franchise as well as 5 percent of all ticket sales in excess of $600,000 for home games. The ground-breaking deal led him to remark, "The offer Oakland made me was one I simply couldn't turn down."
The courts ordered Barry to sit out the 1967–68 season for the Oaks, upholding the validity of the reserve clause in his contract. At the time, all NBA teams had one-year options on player contracts, however, and the Warriors were quick to exercise theirs. He preceded St. Louis Cardinals' outfielder Curt Flood, whose better-known challenge to the reserve clause went all the way to the U.S. Supreme Court, by two years as the first American major-league professional athlete to bring a court action against it. The ensuing negative publicity cast Barry in a negative light, portraying him as selfish and money hungry. He was hardly alone in his vision, however, as numerous NBA players also saw the rival league as a rare opportunity to enhance their careers.
Oakland Oaks
The Oaks finished 22–56 in their ABA debut, which Barry spent as part of their broadcast team. Prior to the 1968–69 season, they hired his former San Francisco Warriors coach Alex Hannum to replace Hale, who moved to a front office position. If there was any question about whether Barry would remain the most dominant player in professional basketball, he quickly answered it. In his ABA debut, he averaged a league-high 34.0 points per game and the Oaks became the first West Coast team to capture a league championship in professional basketball history. Barry also paced the league in free-throw percentage in the regular season, a feat he would repeat in the 1970–71 and 1971–72 seasons.
Barry had his season come to an abrupt halt on December 27, 1968, when late in a game against the New York Nets, he was blindsided by Ken Wilburn on a drive to the basket and tore left knee ligaments on the play. He attempted to come back in January 1969, only to aggravate the injury and sit out the remainder of the season. He took part in only 35 games but still was named to the ABA All-Star team.
Even without the arguably the best all-around player in basketball, the Oaks barely skipped a beat. They finished with a 60–18 record under Hannum, dominating the Western Division by 14 games over the second-place New Orleans Buccaneers. In the 1969 ABA Playoffs, the Oaks ousted the Denver Rockets in a seven-game series then swept the Buccaneers in the Western Division finals. In the championship round, they made short work of the Indiana Pacers, 4–1, to capture the league title.
In lieu of a parade in downtown Oakland, a modest victory celebration was held at a restaurant in Jack London Square. It was there that Barry announced, "I see no hope for the rest of the teams in the league."
Washington Caps
Despite their on-court excellence, the Oaks were a disappointment at the gate, partly because of Barry's absence in the final five months of the season, partly because they were the only ABA member that competed in the same market as an NBA team, that being the more established Warriors across the bay. They averaged just 2,800 fans per home game at the state-of-the-art Oakland County Coliseum Arena, slightly more than the league average. By that time, entertainer-business entrepreneur Pat Boone had become the majority team owner, and after more than $2 million in losses over two seasons, he wanted out of the basketball business. In August 1968, the franchise was sold to a group headed by real estate attorney and former Baltimore Bullets owner Earl Foreman, who immediately moved it to Washington, D.C., even though there was no suitable arena in the vicinity at the time.
Reluctantly, Barry played the 1969–70 season with the ABA's Washington Caps. He refused to report to the team at the outset, at one point commenting, "If I wanted to go to Washington, I'd run for president!" He missed the first 32 games before he joined the team, which played in the Western Division, making for a grueling travel schedule. The Caps still managed to finish with a respectable 44–40 record, good for third place in the Western Division. Appearing in only 52 games because of a knee injury, Barry finished the season with 1,442 points (27.7 per game), second-best in the league. The Denver Rockets edged the Caps, 4–3, in the Western Division semifinals. In Game 7 on the road, Barry went off for 52 points, the most scored in a seventh and deciding game in professional basketball history.
Virginia Squires
The Washington Caps became the Virginia Squires after the 1969–70 season, but Barry was openly despondent about playing in Virginia. At the same time, he wanted to continue playing in the ABA. Featured on the August 24, 1970, cover of Sports Illustrated in a Squires jersey, he indicated that he would not return to the NBA if the league paid him "a million dollars a year." He denounced the Squires (and, subsequently, never suited up for them), saying he did not want his kids growing up with a Southern accent. On September 1, 1970, the Squires traded Barry to the New York Nets for a draft pick and $200,000. The negative comments were not the primary reason; rather, Squires owner Earl Foreman was mired in financial troubles and sold Barry to help meet expenses.
New York Nets
After the Squires dealt Barry to the New York Nets, he played in only 59 games in the 1970–71 season because of a knee injury but still made the ABA All Star team. He repeated as an ABA All Star during the 1971–72 season. During the 1970–71 season he led the league in scoring (29.4 points per game) and led the league again in 1971–72 with 31.5 points per game. In both of those years he also led the ABA in free throw percentage as he had in 1968–69. Barry also became the ABA record holder for most consecutive free throws in one game with 23.
In the 1970–71 season, the Nets finished 40–44, good for fourth place in the Eastern Division and a place in the 1971 ABA Playoffs. The Virginia Squires defeated the Nets 4 games to 2 in the Eastern Division semifinals. The 1971–72 Nets finished the season at 44–40, making the 1972 ABA Playoffs by claiming third place in the Eastern Division, 24 games behind the 68–16 Kentucky Colonels. In the Eastern Division semifinals the Nets shocked the ABA by defeating the Colonels 4 games to 2. The Nets then eked out a 4–3 game victory over the Virginia Squires in the Eastern Division finals. The Nets were then edged by the Western Division champion Indiana Pacers, 4 games to 2, in the 1972 ABA Finals.
On June 23, 1972, a United States District Court judge issued a preliminary injunction to prohibit Barry from playing for any team other than the Golden State Warriors after his contract with the Nets ended. On October 6, 1972, the Nets released Barry and he returned to the Warriors.
Golden State Warriors
Upon Barry's return to the Warriors and the NBA, the cumulative effects of knee problems were taking their toll. Barry gradually moved his game away from the basket, where he became the first so-called point forward in league history. That is, Barry took on a role similar to that of a point guard and became the chief facilitator of the offense. While his offensive forays were not as frequent as in the past, he remained an elite scorer as evidenced by his performance on March 26, 1974, when he went off for a career-high 64 points and grabbed 10 rebounds in a 143–120 win over the visiting Portland Trail Blazers.
In 1974–75, the Warriors had a Cinderella season for the ages. The turnaround began in training camp, when Barry was elected captain by his teammates. They went on to capture the Pacific Division crown as Barry responded with the best all-around season of his career. Not only did he average 30.6 points per game, but he also led the league in free throw percentage (.904) and steals per game (2.9) and ranked sixth in assists per game (6.2), the only forward among the top 10 in the category.
In the playoffs, the upstart Warriors turned back the Seattle SuperSonics and Chicago Bulls to capture the Western Conference crown. In the NBA Finals, they shocked the basketball world with a historic four-game sweep of Elvin Hayes, Wes Unseld and the Washington Bullets, widely considered to be the greatest postseason upset in NBA history. The Bullets had posted a league-high 60 victories, 12 more than the Warriors total in the regular season, which led many experts to predict that they would win the series easily. Barry was named NBA Finals Most Valuable Player on the strength of 29.5 points, 5.0 assists and 3.5 steals per game, not to mention his profound impact in a leadership role.
In the 1975 NBA draft, the Warriors selected point guard Gus Williams in the first round. While Williams made immediate contributions off the bench, off guard Phil Smith came into his own in his second season. Barry was not required to carry the team as often, and his scoring average dipped to 21.0 points per game as a result. As the deepest and most athletic team in professional basketball, the Warriors repeated as Pacific Division champions, this time with a league-best 59–23 record. They entered the playoffs as clear-cut favorites to return to the NBA Finals.
After an unusual 10-day layoff, partly to accommodate network television, the Warriors eliminated the Detroit Pistons in round one then were upset in the Western Conference finals by the Phoenix Suns in seven games. The final contest was marred by a fight between Barry and Suns rookie Ricky Sobers away from the ball in the first quarter, during which none of the Warriors came to his aid at the opposite side of the court. Suns broadcaster Al McCoy concocted a narrative that Barry quit in the second half, a charge that lacked tangible evidence and he steadfastly denied. In fact, Barry led his team in points and shot attempts that game. Rather, he said his intent was to get more teammates involved in the third quarter, the game plan that had allowed them to dominate in the regular season.
In the 1976–77 campaign, the Warriors won 46 games the next season with Barry, Smith, and Williams sharing scoring and ball-handling, but were ousted in the second round by the Los Angeles Lakers. Reportedly, Barry and Williams clashed over the ball-handling role, and Williams was traded after the season to the Seattle SuperSonics. Barry averaged 23.1 points per game in his farewell season (1977–78) with the Warriors, but the team failed to make the playoffs.
Houston Rockets
Barry finished his career with the Houston Rockets, playing through the 1979–80 NBA season. The Rockets signed him as a free agent in June, 1978, and the league awarded veteran guard John Lucas to the Warriors as compensation.
In the twilight of his career, Barry continued to make history. In his Rockets debut, he assumed a new role as the first player off the bench. It was not long before he elevated the point forward position to another level. Barry finished with a career-high 502 assists to become the first true small forward to reach the 500 mark in one season. Until then, swingman John Havlicek had been the only forward with as many as 500 assists in a season, but the Boston Celtics swingman also spent considerable time at the off guard spot. Barry averaged 13.5 points per game and established a new NBA record (since broken) with a .947 free throw percentage.
Barry was less of a factor in his final season. The Rockets were swept by the Celtics in the 1980 Eastern Conference semifinals, and when contract talks with Boston and the Seattle SuperSonics failed to produce a contract, he decided to retire.
NBA career statistics
Regular season
|-
| style="text-align:left;"|
| style="text-align:left;"|San Francisco
| style="background:#cfecec;"|80* || || 37.4 || .439 || || .862 || 10.6 || 2.2 || || || 25.7
|-
| style="text-align:left;"|
| style="text-align:left;"|San Francisco
| 78 || || 40.7 || .451 || || .884 || 9.2 || 3.6 || || || style="background:#cfecec;"|35.6*
|-
| style="text-align:left;"|
| style="text-align:left;"|Golden State
| style="background:#cfecec;"|82* || || 37.5 || .452 || || style="background:#cfecec;"|.902* || 8.9 || 4.9 || || || 22.3
|-
| style="text-align:left;"|
| style="text-align:left;"|Golden State
| 80 || || 36.5 || .456 || || .899 || 6.8 || 6.1 || 2.1 || 0.5 || 25.1
|-
| style="text-align:left; background:#afe6ba;"|†
| style="text-align:left;"|Golden State
| 80 || || 40.4 || .464 || || style="background:#cfecec;"|.904* || 5.7 || 6.2 || style="background:#cfecec;"|2.9* || 0.4 || 30.6
|-
| style="text-align:left;"|
| style="text-align:left;"|Golden State
| 81 || || 38.5 || .435 || || style="background:#cfecec;"|.923* || 6.1 || 6.1 || 2.5 || 0.3 || 21.0
|-
| style="text-align:left;"|
| style="text-align:left;"|Golden State
| 79 || || 36.8 || .440 || || .916 || 5.3 || 6.0 || 2.2 || 0.7 || 21.8
|-
| style="text-align:left;"|
| style="text-align:left;"|Golden State
| 82 || || 36.9 || .451 || || style="background:#cfecec;"|.924* || 5.5 || 5.4 || 1.9 || 0.5 || 23.1
|-
| style="text-align:left;"|
| style="text-align:left;"|Houston
| 80 || || 32.1 || .461 || || style="background:#cfecec;"|.947* || 3.5 || 6.3 || 1.2 || 0.5 || 13.5
|-
| style="text-align:left;"|
| style="text-align:left;"|Houston
| 72 || || 25.2 || .422 || .330 || style="background:#cfecec;"|.935* || 3.3 || 3.7 || 1.1 || 0.4 || 12.0
|- class=sortbottom
| style="text-align:center;" colspan="2"|Career
| 794 || || 36.3 || .449 || .330 || .900 || 6.5 || 5.1 || 2.0 || 0.5 || 23.2
Later years
During the 1990s, he coached the Cedar Rapids Sharpshooters of the Global Basketball Association and the Continental Basketball Association, guiding the Fort Wayne Fury to a 19–37 win-loss record in 1993–94. In 1998 and 1999, he served as head coach of the New Jersey ShoreCats of the United States Basketball League. Former Warriors teammate Clifford Ray was his top assistant.
Barry finished second in his division at the 2005 World Long Drive Championship.
Barry is part owner and promoter for the Ektio basketball shoe, which doctor and former college basketball player Barry Katz designed to reduce ankle injuries. He also serves on the company's Board of Directors.
Broadcasting career
Barry was among the first professional basketball players to make a successful transition to the broadcasting profession. He began broadcasting during the 1967–68 season broadcasting Oakland Oaks games because of contractual matters that kept him off the court. Barry continues to work in the field, a career that began with his own radio show in San Francisco and CBS while still an active player and then with TBS.
While working as a CBS analyst during Game 5 of the 1981 NBA Finals, Barry made a controversial comment when CBS displayed an old photo of colleague Bill Russell, who is African-American. He tried to joke that "it looks like some fool over there with that big watermelon grin". Barry later apologized for the comment, claiming that he did not realize that a reference to watermelons had racial overtones. Russell said that he believed Barry with regard to Barry's racial attitudes, but nonetheless, the two men are reported not to have been particularly friendly for other reasons, unrelated to that comment.
CBS did not renew Barry's employment for the subsequent season. Producers later cited the general negative tone of his game commentary, which did not sit well with some players and agents around the league. The next season Barry filled in on a few Seattle SuperSonics broadcasts, but a plan for a full-time position fell through when he insisted that his then-wife be allowed to join him when the team was on the road, which would have been contrary to team policy. The next year, Barry was featured in a lengthy Sports Illustrated article written by Tony Kornheiser in which he lamented the failure of his broadcasting career to that point, as well as the fact that he'd left a reputation within NBA circles for being an unlikeable person. After this, Barry worked with TBS and later on, TNT into the 1989–90 season, mostly as a color analyst but sometimes as a play-by-play announcer paired with Bill Russell. One of the more notable games Barry called as play-by-play announcer on TBS was Game 5 of the 1985 Eastern Conference Finals between the Boston Celtics and the Philadelphia 76ers, where Larry Bird made a last-second steal which sealed the win and the Eastern Conference Championship for the Celtics. After the 1989–90 season, Barry became the color analyst for the Atlanta Hawks' games that aired on TBS, paired with Skip Caray.
In a rare non-sports venture, he hosted the pilot for the mid-1980s game show Catchphrase; however, when the series debuted in the fall of 1985, game show veteran Art James replaced him (the series itself was short-lived in the US, but was brought over to the UK and is still running).
In September 2001, Barry began hosting a sports talk show on KNBR in San Francisco until June 2003, when KNBR paired him up with Rod Brooks to co-host a show named Rick and Rod. The show aired on KNBR until August 2006, when Barry left the station abruptly for reasons not disclosed to the public.
Personal life
Barry is of Irish, English, French, and Lithuanian descent. He was a member of the Kappa Sigma fraternity. He resides in Colorado Springs, Colorado with his wife, Lynn Norenberg Barry. While their youngest son, Canyon, played basketball for The University of Florida, to watch him play, they rented a condominium in Gainesville, Florida.
He has four sons and a daughter with his first wife Pam: Scooter, Jon, Brent, Drew and Shannon. All of Barry's sons were professional basketball players. Barry wrote an autobiography, Confessions of a Basketball Gypsy: The Rick Barry Story with Bill Libby that was published in 1972. He also has a son, Canyon, with his third wife, Lynn Barry, who is a professional player, playing for Chinese club Hunan Jinjian Miye in the 2018–19 season.
When his son Brent won the NBA Championship in 2005 with the San Antonio Spurs, Rick and Brent became the second father-son duo to both win NBA Championships as players, following Matt Guokas Sr. and Matt Guokas Jr. Later, this would be repeated by Bill and Luke Walton, and Mychal and Klay Thompson.
Jon and Brent have also moved to broadcasting after retirement. Jon serves as a game analyst on ESPN while Brent worked as a studio and game analyst on TNT and NBA TV until 2018 when he took a job with the San Antonio Spurs to be vice president of basketball operations.
Scooter won titles in the CBA and the top Belgian League.
Career achievements
Roselle Park High School – Roselle Park, New Jersey (1957–1961)
Two-time All-State selection
University of Miami (1961–1965)
Associated Press First-Team All-America (1965)
The Sporting News All-America Second Team (1965)
Consensus All-America (1965)
Led the nation in scoring (37.4 ppg) as a senior
NBA San Francisco Warriors (1965–1967)
NBA Rookie of the Year (1966)
NBA All-Rookie First Team (1966)
NBA leading scorer in 1967 (35.6 ppg)
ABA leading scorer in 1969 (34.0 ppg)
NBA highest free-throw percentage 1973, 1975, 1976, 1978, 1979, 1980
ABA highest free-throw percentage 1969, 1971, 1972
NBA All-Star Game MVP (1967)
ABA Oakland Oaks (1968–1969)
ABA Washington Caps (1969–1970)
ABA New York Nets (1970–1972)
NBA Golden State Warriors (1972–1978)
All-NBA Second Team (1973)
NBA Finals MVP (1975)
NBA champion (1975)
NBA Houston Rockets (1978–1979)
All-NBA First Team (1966, 1967, 1974, 1975, 1976)
Eight-time NBA All-Star (1966, 1967, 1973–1978)
ABA All-Star First Team (1969–1972)
NBA 50 Greatest Players (1996)
NBA 75 Greatest Players (2021)
Bay Area Sports Hall of Fame (1988)
Sports Hall of Fame of New Jersey (1994)
University of Miami Sports Hall of Fame (1976)
Golden Plate Award of the American Academy of Achievement (1975)
15 games in NBA career scoring 50 or more points (5th in NBA history)
115 games in professional career scoring 40 or more points — 70 NBA, 45 ABA (4th in professional basketball history after Wilt Chamberlain, Michael Jordan and Kobe Bryant)
NBA records
Regular season
Only player in history to lead the NCAA, ABA and NBA in scoring
Led the NCAA in scoring in 1964–65 (973 points, 37.4 ppg)
Led the NBA in scoring in (2,775 points, 35.6 ppg)
Led the ABA in scoring in (1,190 points; 34.0 ppg)
Youngest player to score 57 points in a game: (57 points, San Francisco Warriors at New York Knicks, )
Free throws, consecutive, ABA game: 23, at Kentucky Colonels,
Assists, forward, game: 19, at Chicago Bulls, November 30, 1976
Playoffs
Scoring 30 or more points in all games, any playoff series: 6 games, vs. Philadelphia 76ers, 1967 NBA Finals
Points, 7-game ABA series: 281, vs. Denver Rockets, 1970 semifinals
Points scored, Game 7, any ABA-NBA playoff series: 52, at Denver Rockets,
Field goal attempts, 6-game series: 235, vs. Philadelphia 76ers, 1967 NBA Finals
Field goal attempts, game: 48, vs. Philadelphia 76ers,
Field goal attempts, quarter: 17, at Philadelphia 76ers,
Steals, quarter: 4, second quarter, at Chicago Bulls,
Tied with many other players
NBA Finals
Highest scoring average (career): 36.3
Scoring 30 or more points in all games, any championship series: 6 games, vs. Philadelphia 76ers, 1967 NBA Finals
Tied with Elgin Baylor, Michael Jordan, Hakeem Olajuwon, Shaquille O'Neal, and Kevin Durant.
Field goals made, game: 22, vs. Philadelphia 76ers,
Tied with Elgin Baylor
Field goal attempts, 6-game series: 235, vs. Philadelphia 76ers, 1967 NBA Finals
Field goal attempts, game: 48, vs. Philadelphia 76ers,
Field goal attempts, quarter: 17, at Philadelphia 76ers,
Steals, 4-game series: 14, vs. Washington Bullets, 1975 NBA Finals (3.5 spg)
All-Star
Field goal attempts, game: 27 (1967)
Steals, game: 8 (1975)
Personal fouls, game: 6, twice (1966, 1978)
Disqualifications, career: 2
Tied with Bob Cousy
See also
American Basketball Association (2000–present)
List of individual National Basketball Association scoring leaders by season
List of National Basketball Association players with most points in a game
List of National Basketball Association players with most steals in a game
List of National Basketball Association players with 50 or more points in a playoff game
List of NCAA Division I men's basketball players with 2000 points and 1000 rebounds
References
External links
Basketball Hall of Fame profile
RememberTheABA.com Rick Barry page
1972 Jim O'Brien biographical article on Rick Barry
Rick Barry and Rod Brooks Home Page at KNBR Radio
Rick Barry Career Statistics
A Voice Crying in the Wilderness
1944 births
Living people
All-American college men's basketball players
American Basketball Association announcers
American men's basketball players
American people of Lithuanian descent
American sports radio personalities
Basketball coaches from New Jersey
Basketball players from Colorado Springs, Colorado
Basketball players from New Jersey
Big3 coaches
Continental Basketball Association coaches
Golden State Warriors players
Golf writers and broadcasters
Houston Rockets players
Miami Hurricanes men's basketball players
Naismith Memorial Basketball Hall of Fame inductees
National Basketball Association All-Stars
National Basketball Association broadcasters
National Basketball Association players with retired numbers
New York Nets players
Oakland Oaks players
People from Roselle Park, New Jersey
Radio personalities from San Francisco
San Francisco Warriors draft picks
San Francisco Warriors players
Small forwards
Sportspeople from Elizabeth, New Jersey
Tennis commentators
United States Basketball League coaches
Washington Caps players
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"Alex Henning is a visual effects supervisor.\n\nOn January 24, 2012, he was nominated for an Oscar for the film Hugo, which he did win at the 84th Academy Awards in the category of Best Visual Effects. His win was shared with Ben Grossmann, Robert Legato, and Joss Williams.\n\nReferences\n\nExternal links\n\nLiving people\nVisual effects supervisors\nBest Visual Effects Academy Award winners\nYear of birth missing (living people)",
"Bill Warrington (1910 – September 11, 1981) was a special effects artist. He won one Academy Award, which was for the film The Guns of Navarone. He shared his win with Chris Greenham, this was in the category of Best Special Effects during the 34th Academy Awards.\n\nHe did special effects on 70 films, with his final film being Raiders of the Lost Ark.\n\nReferences\n\nExternal links\n\n1910 births\n1981 deaths\nBest Visual Effects Academy Award winners\nSpecial effects people"
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"Rick Barry",
"Oakland Oaks",
"when did he join oakland",
"After the 1966-67 season,",
"what did he achieve with them",
"). The Warriors went to court and prevented Barry from playing for the Oaks during the 1967-68 season.",
"where did he come from",
"I don't know.",
"who did he play with",
"). However, on December 27, 1968, late in a game against the New York Nets,",
"did he win award",
"I don't know."
] |
C_8f7fac246686419095d0aa03c67dc933_0
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what trophy did he win with them
| 6 |
what trophy did Rick Barry win with the Oakland Oaks
|
Rick Barry
|
After the 1966-67 season, Barry became one of the first NBA players to jump to the American Basketball Association when he signed with the Oakland Oaks. In the ABA's first season, the Oaks were the only ABA team located in the same market as an NBA team (the Warriors). The Warriors went to court and prevented Barry from playing for the Oaks during the 1967-68 season. Barry instead worked on Oaks radio broadcasts during the ABA's first season. During the 1968-69 season Barry suited up for the Oaks and averaged 34 points per game. He also led the ABA in free throw percentage for the season (a feat he repeated in the 1970-71 and 1971-72 seasons). However, on December 27, 1968, late in a game against the New York Nets, Barry and Kenny Wilburn collided and Barry tore ligaments in his knee. He tried to play again in January but only aggravated the injury and sat out the rest of the season, only appearing in 35 games as a result. Despite the injury Barry was named to the ABA All-Star team. The Oaks finished with a record of 60-18, winning the Western Division by 14 games over the second place New Orleans Buccaneers. In the 1969 ABA Playoffs the Oaks defeated the Denver Rockets in a seven-game series and then defeated New Orleans in the Western Division finals. In the finals the Oaks defeated the Indiana Pacers 4 games to 1 to win the 1969 ABA Championship. The Oaks' on-court success had not translated into solid attendance. The team averaged 2,800 fans per game. Instead of remaining in Oakland for another season to see if the championship would draw fans, the team was sold by owner Pat Boone and relocated to Washington, D.C. for the 1969-70 season. CANNOTANSWER
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CANNOTANSWER
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Richard Francis Dennis Barry III (born March 28, 1944) is an American retired professional basketball player who played in both the American Basketball Association (ABA) and National Basketball Association (NBA). Named one of the 50 Greatest Players in history in 1996 and 75 Greatest Players in history in 2021, each in a league-wide vote of media, analysts, current and former players and team executives, Barry ranks among the most prolific scorers and all-around players in basketball history. He is the only one to lead the National Collegiate Athletic Association (NCAA), ABA, and NBA in points per game in a season. He ranks as the all-time ABA scoring leader in regular season (30.5 points per game) and postseason (33.5) play, while his 36.3 points per game are the most in the NBA Finals history. Barry also is the only player to reach the 50-point mark in a Game 7 of the playoffs in either league. He is one of only four players to be a part of a championship team in both leagues.
Barry is widely known for his unorthodox but extraordinarily effective underhand free throw technique. His career .880 free throw percentage ranks No. 1 in ABA history, and at the time of his retirement in 1980, his .900 percentage was the best of any NBA player. In 1987, he was inducted into the Naismith Memorial Basketball Hall of Fame. In October 2021, Barry was honored as one of the league's greatest players of all-time by being named to the NBA 75th Anniversary Team.
Barry is the father of former professional basketball players Brent Barry, Jon Barry, Drew Barry, and Scooter Barry, and current professional player Canyon Barry. His wife, Lynn Norenberg Barry, was a star basketball player at the College of William & Mary, where she became the first female athlete to have her jersey number (22) retired.
Early years and college career
Barry grew up in Roselle Park, New Jersey, where baseball was his best sport as a youth. He grew up a fan of local New York Giants star Willie Mays, who wore jersey number 24, and Barry would wear the same number in tribute to the outfielder throughout his basketball career. In 1962, Barry graduated from Roselle Park High School.
Barry decided to attend the University of Miami, largely because the Hurricanes adhered to an up-tempo, pro-style system under head coach Bruce Hale that was conducive to his skills and athleticism. It was there that the three-time All-American met his future wife Pamela, who was the daughter of the head coach. As a senior, Barry led the NCAA with a 37.4 points per game average in the 1964–65 campaign. He and his teammates did not take part in the NCAA Tournament, however, because the Hurricanes basketball program was on probation at the time.
Barry was drafted by the San Francisco Warriors with the second pick of the 1965 NBA draft. He had hoped to be selected by the New York Knicks, his hometown team, but they opted for local Princeton star Bill Bradley in round one instead. It was a slight that Barry would not soon forget. In his second visit to Madison Square Garden as a pro, he went off for 57 points versus the Knicks, including 21 free throws in 22 attempts. He also grabbed 15 rebounds in the 141–137 loss.
Professional playing career
San Francisco Warriors
In Barry's first season in the NBA with the Warriors, the team made a quantum leap from 17 to 35 victories and were in playoff contention until the final game of the regular season. In the All-Star Game one season later, Barry erupted for 38 points as the West team stunned the East team, which featured Wilt Chamberlain, Oscar Robertson, Bill Russell and head coach Red Auerbach among other all-time greats. Later that season, Barry and company extended the mighty Philadelphia 76ers to six highly competitive games in the NBA Finals, something that Russell and the Boston Celtics could not do in the Eastern Conference playoffs.
Nicknamed the "Miami Greyhound" by longtime San Francisco Bay Area broadcaster Bill King because of his long and slender physical build, whippet-like quickness and remarkable instincts, the Barry won the NBA Rookie of the Year Award after averaging 25.7 points and 10.6 rebounds per game in the 1965–66 season. The following year, he won the 1967 NBA All-Star Game MVP award with a 38-point outburst and led the NBA in scoring with a 35.6 point per game average — which still ranks as the eighth-highest output in league annals.
Along with All-Star center Nate Thurmond, Barry carried the Warriors to the 1967 NBA Finals, which they lost to the Philadelphia 76ers in six games. Despite an injured left knee that required cortisone shots on game days, Barry averaged 40.8 points per game in the series, an NBA Finals record that stood for three decades. "The guy was so good that we had to have three different guys guard him at different times," Chamberlain said. "'Cause he would run them all ragged."
Joining the ABA
At odds with Warriors owner Franklin Mieuli over unpaid incentive monies due him, Barry shocked the basketball world when he jumped to the ABA's Oakland Oaks, who overwhelmed him with a historic contract offer. Barry became the first marquee NBA player to jump to the rival league. Not only was the three-year agreement worth a reported $500,000, which would make him one of basketball's highest-paid players, it afforded him the opportunity to play for his former college coach Bruce Hale, who was also his father-in-law. In addition, Barry received 15 percent ownership in the franchise as well as 5 percent of all ticket sales in excess of $600,000 for home games. The ground-breaking deal led him to remark, "The offer Oakland made me was one I simply couldn't turn down."
The courts ordered Barry to sit out the 1967–68 season for the Oaks, upholding the validity of the reserve clause in his contract. At the time, all NBA teams had one-year options on player contracts, however, and the Warriors were quick to exercise theirs. He preceded St. Louis Cardinals' outfielder Curt Flood, whose better-known challenge to the reserve clause went all the way to the U.S. Supreme Court, by two years as the first American major-league professional athlete to bring a court action against it. The ensuing negative publicity cast Barry in a negative light, portraying him as selfish and money hungry. He was hardly alone in his vision, however, as numerous NBA players also saw the rival league as a rare opportunity to enhance their careers.
Oakland Oaks
The Oaks finished 22–56 in their ABA debut, which Barry spent as part of their broadcast team. Prior to the 1968–69 season, they hired his former San Francisco Warriors coach Alex Hannum to replace Hale, who moved to a front office position. If there was any question about whether Barry would remain the most dominant player in professional basketball, he quickly answered it. In his ABA debut, he averaged a league-high 34.0 points per game and the Oaks became the first West Coast team to capture a league championship in professional basketball history. Barry also paced the league in free-throw percentage in the regular season, a feat he would repeat in the 1970–71 and 1971–72 seasons.
Barry had his season come to an abrupt halt on December 27, 1968, when late in a game against the New York Nets, he was blindsided by Ken Wilburn on a drive to the basket and tore left knee ligaments on the play. He attempted to come back in January 1969, only to aggravate the injury and sit out the remainder of the season. He took part in only 35 games but still was named to the ABA All-Star team.
Even without the arguably the best all-around player in basketball, the Oaks barely skipped a beat. They finished with a 60–18 record under Hannum, dominating the Western Division by 14 games over the second-place New Orleans Buccaneers. In the 1969 ABA Playoffs, the Oaks ousted the Denver Rockets in a seven-game series then swept the Buccaneers in the Western Division finals. In the championship round, they made short work of the Indiana Pacers, 4–1, to capture the league title.
In lieu of a parade in downtown Oakland, a modest victory celebration was held at a restaurant in Jack London Square. It was there that Barry announced, "I see no hope for the rest of the teams in the league."
Washington Caps
Despite their on-court excellence, the Oaks were a disappointment at the gate, partly because of Barry's absence in the final five months of the season, partly because they were the only ABA member that competed in the same market as an NBA team, that being the more established Warriors across the bay. They averaged just 2,800 fans per home game at the state-of-the-art Oakland County Coliseum Arena, slightly more than the league average. By that time, entertainer-business entrepreneur Pat Boone had become the majority team owner, and after more than $2 million in losses over two seasons, he wanted out of the basketball business. In August 1968, the franchise was sold to a group headed by real estate attorney and former Baltimore Bullets owner Earl Foreman, who immediately moved it to Washington, D.C., even though there was no suitable arena in the vicinity at the time.
Reluctantly, Barry played the 1969–70 season with the ABA's Washington Caps. He refused to report to the team at the outset, at one point commenting, "If I wanted to go to Washington, I'd run for president!" He missed the first 32 games before he joined the team, which played in the Western Division, making for a grueling travel schedule. The Caps still managed to finish with a respectable 44–40 record, good for third place in the Western Division. Appearing in only 52 games because of a knee injury, Barry finished the season with 1,442 points (27.7 per game), second-best in the league. The Denver Rockets edged the Caps, 4–3, in the Western Division semifinals. In Game 7 on the road, Barry went off for 52 points, the most scored in a seventh and deciding game in professional basketball history.
Virginia Squires
The Washington Caps became the Virginia Squires after the 1969–70 season, but Barry was openly despondent about playing in Virginia. At the same time, he wanted to continue playing in the ABA. Featured on the August 24, 1970, cover of Sports Illustrated in a Squires jersey, he indicated that he would not return to the NBA if the league paid him "a million dollars a year." He denounced the Squires (and, subsequently, never suited up for them), saying he did not want his kids growing up with a Southern accent. On September 1, 1970, the Squires traded Barry to the New York Nets for a draft pick and $200,000. The negative comments were not the primary reason; rather, Squires owner Earl Foreman was mired in financial troubles and sold Barry to help meet expenses.
New York Nets
After the Squires dealt Barry to the New York Nets, he played in only 59 games in the 1970–71 season because of a knee injury but still made the ABA All Star team. He repeated as an ABA All Star during the 1971–72 season. During the 1970–71 season he led the league in scoring (29.4 points per game) and led the league again in 1971–72 with 31.5 points per game. In both of those years he also led the ABA in free throw percentage as he had in 1968–69. Barry also became the ABA record holder for most consecutive free throws in one game with 23.
In the 1970–71 season, the Nets finished 40–44, good for fourth place in the Eastern Division and a place in the 1971 ABA Playoffs. The Virginia Squires defeated the Nets 4 games to 2 in the Eastern Division semifinals. The 1971–72 Nets finished the season at 44–40, making the 1972 ABA Playoffs by claiming third place in the Eastern Division, 24 games behind the 68–16 Kentucky Colonels. In the Eastern Division semifinals the Nets shocked the ABA by defeating the Colonels 4 games to 2. The Nets then eked out a 4–3 game victory over the Virginia Squires in the Eastern Division finals. The Nets were then edged by the Western Division champion Indiana Pacers, 4 games to 2, in the 1972 ABA Finals.
On June 23, 1972, a United States District Court judge issued a preliminary injunction to prohibit Barry from playing for any team other than the Golden State Warriors after his contract with the Nets ended. On October 6, 1972, the Nets released Barry and he returned to the Warriors.
Golden State Warriors
Upon Barry's return to the Warriors and the NBA, the cumulative effects of knee problems were taking their toll. Barry gradually moved his game away from the basket, where he became the first so-called point forward in league history. That is, Barry took on a role similar to that of a point guard and became the chief facilitator of the offense. While his offensive forays were not as frequent as in the past, he remained an elite scorer as evidenced by his performance on March 26, 1974, when he went off for a career-high 64 points and grabbed 10 rebounds in a 143–120 win over the visiting Portland Trail Blazers.
In 1974–75, the Warriors had a Cinderella season for the ages. The turnaround began in training camp, when Barry was elected captain by his teammates. They went on to capture the Pacific Division crown as Barry responded with the best all-around season of his career. Not only did he average 30.6 points per game, but he also led the league in free throw percentage (.904) and steals per game (2.9) and ranked sixth in assists per game (6.2), the only forward among the top 10 in the category.
In the playoffs, the upstart Warriors turned back the Seattle SuperSonics and Chicago Bulls to capture the Western Conference crown. In the NBA Finals, they shocked the basketball world with a historic four-game sweep of Elvin Hayes, Wes Unseld and the Washington Bullets, widely considered to be the greatest postseason upset in NBA history. The Bullets had posted a league-high 60 victories, 12 more than the Warriors total in the regular season, which led many experts to predict that they would win the series easily. Barry was named NBA Finals Most Valuable Player on the strength of 29.5 points, 5.0 assists and 3.5 steals per game, not to mention his profound impact in a leadership role.
In the 1975 NBA draft, the Warriors selected point guard Gus Williams in the first round. While Williams made immediate contributions off the bench, off guard Phil Smith came into his own in his second season. Barry was not required to carry the team as often, and his scoring average dipped to 21.0 points per game as a result. As the deepest and most athletic team in professional basketball, the Warriors repeated as Pacific Division champions, this time with a league-best 59–23 record. They entered the playoffs as clear-cut favorites to return to the NBA Finals.
After an unusual 10-day layoff, partly to accommodate network television, the Warriors eliminated the Detroit Pistons in round one then were upset in the Western Conference finals by the Phoenix Suns in seven games. The final contest was marred by a fight between Barry and Suns rookie Ricky Sobers away from the ball in the first quarter, during which none of the Warriors came to his aid at the opposite side of the court. Suns broadcaster Al McCoy concocted a narrative that Barry quit in the second half, a charge that lacked tangible evidence and he steadfastly denied. In fact, Barry led his team in points and shot attempts that game. Rather, he said his intent was to get more teammates involved in the third quarter, the game plan that had allowed them to dominate in the regular season.
In the 1976–77 campaign, the Warriors won 46 games the next season with Barry, Smith, and Williams sharing scoring and ball-handling, but were ousted in the second round by the Los Angeles Lakers. Reportedly, Barry and Williams clashed over the ball-handling role, and Williams was traded after the season to the Seattle SuperSonics. Barry averaged 23.1 points per game in his farewell season (1977–78) with the Warriors, but the team failed to make the playoffs.
Houston Rockets
Barry finished his career with the Houston Rockets, playing through the 1979–80 NBA season. The Rockets signed him as a free agent in June, 1978, and the league awarded veteran guard John Lucas to the Warriors as compensation.
In the twilight of his career, Barry continued to make history. In his Rockets debut, he assumed a new role as the first player off the bench. It was not long before he elevated the point forward position to another level. Barry finished with a career-high 502 assists to become the first true small forward to reach the 500 mark in one season. Until then, swingman John Havlicek had been the only forward with as many as 500 assists in a season, but the Boston Celtics swingman also spent considerable time at the off guard spot. Barry averaged 13.5 points per game and established a new NBA record (since broken) with a .947 free throw percentage.
Barry was less of a factor in his final season. The Rockets were swept by the Celtics in the 1980 Eastern Conference semifinals, and when contract talks with Boston and the Seattle SuperSonics failed to produce a contract, he decided to retire.
NBA career statistics
Regular season
|-
| style="text-align:left;"|
| style="text-align:left;"|San Francisco
| style="background:#cfecec;"|80* || || 37.4 || .439 || || .862 || 10.6 || 2.2 || || || 25.7
|-
| style="text-align:left;"|
| style="text-align:left;"|San Francisco
| 78 || || 40.7 || .451 || || .884 || 9.2 || 3.6 || || || style="background:#cfecec;"|35.6*
|-
| style="text-align:left;"|
| style="text-align:left;"|Golden State
| style="background:#cfecec;"|82* || || 37.5 || .452 || || style="background:#cfecec;"|.902* || 8.9 || 4.9 || || || 22.3
|-
| style="text-align:left;"|
| style="text-align:left;"|Golden State
| 80 || || 36.5 || .456 || || .899 || 6.8 || 6.1 || 2.1 || 0.5 || 25.1
|-
| style="text-align:left; background:#afe6ba;"|†
| style="text-align:left;"|Golden State
| 80 || || 40.4 || .464 || || style="background:#cfecec;"|.904* || 5.7 || 6.2 || style="background:#cfecec;"|2.9* || 0.4 || 30.6
|-
| style="text-align:left;"|
| style="text-align:left;"|Golden State
| 81 || || 38.5 || .435 || || style="background:#cfecec;"|.923* || 6.1 || 6.1 || 2.5 || 0.3 || 21.0
|-
| style="text-align:left;"|
| style="text-align:left;"|Golden State
| 79 || || 36.8 || .440 || || .916 || 5.3 || 6.0 || 2.2 || 0.7 || 21.8
|-
| style="text-align:left;"|
| style="text-align:left;"|Golden State
| 82 || || 36.9 || .451 || || style="background:#cfecec;"|.924* || 5.5 || 5.4 || 1.9 || 0.5 || 23.1
|-
| style="text-align:left;"|
| style="text-align:left;"|Houston
| 80 || || 32.1 || .461 || || style="background:#cfecec;"|.947* || 3.5 || 6.3 || 1.2 || 0.5 || 13.5
|-
| style="text-align:left;"|
| style="text-align:left;"|Houston
| 72 || || 25.2 || .422 || .330 || style="background:#cfecec;"|.935* || 3.3 || 3.7 || 1.1 || 0.4 || 12.0
|- class=sortbottom
| style="text-align:center;" colspan="2"|Career
| 794 || || 36.3 || .449 || .330 || .900 || 6.5 || 5.1 || 2.0 || 0.5 || 23.2
Later years
During the 1990s, he coached the Cedar Rapids Sharpshooters of the Global Basketball Association and the Continental Basketball Association, guiding the Fort Wayne Fury to a 19–37 win-loss record in 1993–94. In 1998 and 1999, he served as head coach of the New Jersey ShoreCats of the United States Basketball League. Former Warriors teammate Clifford Ray was his top assistant.
Barry finished second in his division at the 2005 World Long Drive Championship.
Barry is part owner and promoter for the Ektio basketball shoe, which doctor and former college basketball player Barry Katz designed to reduce ankle injuries. He also serves on the company's Board of Directors.
Broadcasting career
Barry was among the first professional basketball players to make a successful transition to the broadcasting profession. He began broadcasting during the 1967–68 season broadcasting Oakland Oaks games because of contractual matters that kept him off the court. Barry continues to work in the field, a career that began with his own radio show in San Francisco and CBS while still an active player and then with TBS.
While working as a CBS analyst during Game 5 of the 1981 NBA Finals, Barry made a controversial comment when CBS displayed an old photo of colleague Bill Russell, who is African-American. He tried to joke that "it looks like some fool over there with that big watermelon grin". Barry later apologized for the comment, claiming that he did not realize that a reference to watermelons had racial overtones. Russell said that he believed Barry with regard to Barry's racial attitudes, but nonetheless, the two men are reported not to have been particularly friendly for other reasons, unrelated to that comment.
CBS did not renew Barry's employment for the subsequent season. Producers later cited the general negative tone of his game commentary, which did not sit well with some players and agents around the league. The next season Barry filled in on a few Seattle SuperSonics broadcasts, but a plan for a full-time position fell through when he insisted that his then-wife be allowed to join him when the team was on the road, which would have been contrary to team policy. The next year, Barry was featured in a lengthy Sports Illustrated article written by Tony Kornheiser in which he lamented the failure of his broadcasting career to that point, as well as the fact that he'd left a reputation within NBA circles for being an unlikeable person. After this, Barry worked with TBS and later on, TNT into the 1989–90 season, mostly as a color analyst but sometimes as a play-by-play announcer paired with Bill Russell. One of the more notable games Barry called as play-by-play announcer on TBS was Game 5 of the 1985 Eastern Conference Finals between the Boston Celtics and the Philadelphia 76ers, where Larry Bird made a last-second steal which sealed the win and the Eastern Conference Championship for the Celtics. After the 1989–90 season, Barry became the color analyst for the Atlanta Hawks' games that aired on TBS, paired with Skip Caray.
In a rare non-sports venture, he hosted the pilot for the mid-1980s game show Catchphrase; however, when the series debuted in the fall of 1985, game show veteran Art James replaced him (the series itself was short-lived in the US, but was brought over to the UK and is still running).
In September 2001, Barry began hosting a sports talk show on KNBR in San Francisco until June 2003, when KNBR paired him up with Rod Brooks to co-host a show named Rick and Rod. The show aired on KNBR until August 2006, when Barry left the station abruptly for reasons not disclosed to the public.
Personal life
Barry is of Irish, English, French, and Lithuanian descent. He was a member of the Kappa Sigma fraternity. He resides in Colorado Springs, Colorado with his wife, Lynn Norenberg Barry. While their youngest son, Canyon, played basketball for The University of Florida, to watch him play, they rented a condominium in Gainesville, Florida.
He has four sons and a daughter with his first wife Pam: Scooter, Jon, Brent, Drew and Shannon. All of Barry's sons were professional basketball players. Barry wrote an autobiography, Confessions of a Basketball Gypsy: The Rick Barry Story with Bill Libby that was published in 1972. He also has a son, Canyon, with his third wife, Lynn Barry, who is a professional player, playing for Chinese club Hunan Jinjian Miye in the 2018–19 season.
When his son Brent won the NBA Championship in 2005 with the San Antonio Spurs, Rick and Brent became the second father-son duo to both win NBA Championships as players, following Matt Guokas Sr. and Matt Guokas Jr. Later, this would be repeated by Bill and Luke Walton, and Mychal and Klay Thompson.
Jon and Brent have also moved to broadcasting after retirement. Jon serves as a game analyst on ESPN while Brent worked as a studio and game analyst on TNT and NBA TV until 2018 when he took a job with the San Antonio Spurs to be vice president of basketball operations.
Scooter won titles in the CBA and the top Belgian League.
Career achievements
Roselle Park High School – Roselle Park, New Jersey (1957–1961)
Two-time All-State selection
University of Miami (1961–1965)
Associated Press First-Team All-America (1965)
The Sporting News All-America Second Team (1965)
Consensus All-America (1965)
Led the nation in scoring (37.4 ppg) as a senior
NBA San Francisco Warriors (1965–1967)
NBA Rookie of the Year (1966)
NBA All-Rookie First Team (1966)
NBA leading scorer in 1967 (35.6 ppg)
ABA leading scorer in 1969 (34.0 ppg)
NBA highest free-throw percentage 1973, 1975, 1976, 1978, 1979, 1980
ABA highest free-throw percentage 1969, 1971, 1972
NBA All-Star Game MVP (1967)
ABA Oakland Oaks (1968–1969)
ABA Washington Caps (1969–1970)
ABA New York Nets (1970–1972)
NBA Golden State Warriors (1972–1978)
All-NBA Second Team (1973)
NBA Finals MVP (1975)
NBA champion (1975)
NBA Houston Rockets (1978–1979)
All-NBA First Team (1966, 1967, 1974, 1975, 1976)
Eight-time NBA All-Star (1966, 1967, 1973–1978)
ABA All-Star First Team (1969–1972)
NBA 50 Greatest Players (1996)
NBA 75 Greatest Players (2021)
Bay Area Sports Hall of Fame (1988)
Sports Hall of Fame of New Jersey (1994)
University of Miami Sports Hall of Fame (1976)
Golden Plate Award of the American Academy of Achievement (1975)
15 games in NBA career scoring 50 or more points (5th in NBA history)
115 games in professional career scoring 40 or more points — 70 NBA, 45 ABA (4th in professional basketball history after Wilt Chamberlain, Michael Jordan and Kobe Bryant)
NBA records
Regular season
Only player in history to lead the NCAA, ABA and NBA in scoring
Led the NCAA in scoring in 1964–65 (973 points, 37.4 ppg)
Led the NBA in scoring in (2,775 points, 35.6 ppg)
Led the ABA in scoring in (1,190 points; 34.0 ppg)
Youngest player to score 57 points in a game: (57 points, San Francisco Warriors at New York Knicks, )
Free throws, consecutive, ABA game: 23, at Kentucky Colonels,
Assists, forward, game: 19, at Chicago Bulls, November 30, 1976
Playoffs
Scoring 30 or more points in all games, any playoff series: 6 games, vs. Philadelphia 76ers, 1967 NBA Finals
Points, 7-game ABA series: 281, vs. Denver Rockets, 1970 semifinals
Points scored, Game 7, any ABA-NBA playoff series: 52, at Denver Rockets,
Field goal attempts, 6-game series: 235, vs. Philadelphia 76ers, 1967 NBA Finals
Field goal attempts, game: 48, vs. Philadelphia 76ers,
Field goal attempts, quarter: 17, at Philadelphia 76ers,
Steals, quarter: 4, second quarter, at Chicago Bulls,
Tied with many other players
NBA Finals
Highest scoring average (career): 36.3
Scoring 30 or more points in all games, any championship series: 6 games, vs. Philadelphia 76ers, 1967 NBA Finals
Tied with Elgin Baylor, Michael Jordan, Hakeem Olajuwon, Shaquille O'Neal, and Kevin Durant.
Field goals made, game: 22, vs. Philadelphia 76ers,
Tied with Elgin Baylor
Field goal attempts, 6-game series: 235, vs. Philadelphia 76ers, 1967 NBA Finals
Field goal attempts, game: 48, vs. Philadelphia 76ers,
Field goal attempts, quarter: 17, at Philadelphia 76ers,
Steals, 4-game series: 14, vs. Washington Bullets, 1975 NBA Finals (3.5 spg)
All-Star
Field goal attempts, game: 27 (1967)
Steals, game: 8 (1975)
Personal fouls, game: 6, twice (1966, 1978)
Disqualifications, career: 2
Tied with Bob Cousy
See also
American Basketball Association (2000–present)
List of individual National Basketball Association scoring leaders by season
List of National Basketball Association players with most points in a game
List of National Basketball Association players with most steals in a game
List of National Basketball Association players with 50 or more points in a playoff game
List of NCAA Division I men's basketball players with 2000 points and 1000 rebounds
References
External links
Basketball Hall of Fame profile
RememberTheABA.com Rick Barry page
1972 Jim O'Brien biographical article on Rick Barry
Rick Barry and Rod Brooks Home Page at KNBR Radio
Rick Barry Career Statistics
A Voice Crying in the Wilderness
1944 births
Living people
All-American college men's basketball players
American Basketball Association announcers
American men's basketball players
American people of Lithuanian descent
American sports radio personalities
Basketball coaches from New Jersey
Basketball players from Colorado Springs, Colorado
Basketball players from New Jersey
Big3 coaches
Continental Basketball Association coaches
Golden State Warriors players
Golf writers and broadcasters
Houston Rockets players
Miami Hurricanes men's basketball players
Naismith Memorial Basketball Hall of Fame inductees
National Basketball Association All-Stars
National Basketball Association broadcasters
National Basketball Association players with retired numbers
New York Nets players
Oakland Oaks players
People from Roselle Park, New Jersey
Radio personalities from San Francisco
San Francisco Warriors draft picks
San Francisco Warriors players
Small forwards
Sportspeople from Elizabeth, New Jersey
Tennis commentators
United States Basketball League coaches
Washington Caps players
| false |
[
"The Lombardi curse was an alleged sports-related curse that supposedly prevented the National Football League (NFL)'s Philadelphia Eagles franchise from winning the Super Bowl for as long as the game's trophy is named after Vince Lombardi. Its origin is traced to the Eagles upsetting the Green Bay Packers in the 1960 NFL Championship Game. This game ended up being the lone playoff defeat in Lombardi's coaching career as his Packers established a dynasty that won five NFL championships in the next seven seasons, including the first two Super Bowls.\n\nMeanwhile, the Eagles had not won another league championship since, including having never won the Super Bowl since the game started being played annually in 1966. They appeared in Super Bowl XV in the 1980 season and Super Bowl XXXIX in the 2004 season, but lost both times. In 1970, the Super Bowl trophy was officially named the Vince Lombardi trophy when the league decided to honor Lombardi by naming the trophy after him following his death in 1970. This renaming of the Super Bowl trophy combined with the Eagles inability to win the championship game has led some Eagles fans to believe that the franchise is cursed by Vince Lombardi; that beating Lombardi meant never winning the trophy named after him.\n\nThe Eagles defeated the New England Patriots by a score of 41–33 in Super Bowl LII at U.S. Bank Stadium in Minneapolis, Minnesota on February 4, 2018, ending the alleged curse.\n\nOrigins\nIn 1958, the Philadelphia Eagles offered and nearly hired Vince Lombardi to be their head coach after having served as the offensive coordinator for the New York Giants, but after some discussion he refused it in the end. The Eagles were reportedly not happy with \nhis decision.\n\nThe Eagles hired Buck Shaw as their head coach later that offseason. After spending an additional season with the Giants, Lombardi became head coach for the Green Bay Packers in 1959.\n\nOn December 26, 1960, the Eagles defeated Lombardi and the Packers 17–13 in the 1960 NFL Championship Game. While the Eagles organization celebrated the victory over the man who had turned them down two years earlier, Lombardi did not take the loss kindly, and it is said that the loss is what drove him for the rest of his coaching career. He took the blame for the loss and reportedly told his team after the game that \"We'll never lose another championship\". Lombardi fulfilled his promise, as the Packers went 9–0 with Lombardi in the playoffs since that defeat, winning five championships which included the first two Super Bowls. \n\nMeanwhile, the Eagles did not win another championship for 57 years, the third longest active title drought among all NFL franchises after the Arizona Cardinals and Detroit Lions. \nIn 1970, Lombardi died following a battle with cancer, and the league decided to honor him by naming the Super Bowl trophy after him. While there are no reports that Lombardi has said anything that would suggest he placed a curse on the Eagles, some Eagles fans believed the franchise was cursed to never win the Super Bowl for as long as the game's trophy was named after the man they handed his lone playoff defeat to.\n\nSee also\n Curse of Billy Penn\n Super Bowl curse\n\nReferences\n\nAmerican football-related curses\nPhiladelphia Eagles\nUrban legends",
"The Art Ross Trophy is awarded to the National Hockey League (NHL) player who leads the league in points at the end of the regular season. It was presented to the league by former player, General Manager, and head coach Art Ross. The trophy has been awarded 70 times to 29 players since its introduction in the 1947–48 NHL season. Ross is also known for his design of the official NHL puck, with slightly bevelled edges for better control.\n\nThe current holder is Connor McDavid of the Edmonton Oilers.\n\nHistory\n\nThe Art Ross Trophy was presented to the National Hockey League (NHL) in 1947 by Arthur Howey \"Art\" Ross, former General Manager and head coach of the Boston Bruins and Hockey Hall of Fame inductee as a player. Elmer Lach of the Montreal Canadiens was the winner of the first Art Ross Trophy, which was awarded at the conclusion of the season.\n\nPlayers from the Pittsburgh Penguins have won the trophy 15 times (all within a 26-season span from to ); the Edmonton Oilers are in second place with three players winning it 11 times; and the Montreal Canadiens and Chicago Blackhawks are tied for third, as players from those teams have won it nine times each. Although Joe Thornton, winner from the season, started the season playing for the Boston Bruins, he finished with the San Jose Sharks and the award counts for the Sharks. Therefore, Boston Bruins have seven players winning the trophy, fifth overall.\n\nFrom 1963 to 2001, Marcel Dionne and Bryan Trottier were the only single-time winners of the scoring title, while Stan Mikita, Phil Esposito, Bobby Orr, Guy Lafleur, Wayne Gretzky, Mario Lemieux, and Jaromir Jagr had won it on multiple occasions. For two decades, from 1981 to 2001, only three players won the Art Ross Trophy: Gretzky, Lemieux, and Jagr. The streak ended when Jarome Iginla won the trophy in 2002.\n\nGretzky has won the trophy ten times, including seven consecutive, during his 20-year NHL career. Gordie Howe and Lemieux have each won it six times, while Esposito and Jagr each have five. Jagr, from the Czech Republic, has won the award the most times by a non-Canadian. Patrick Kane is the only American born player to win the trophy, doing so in 2016. Gretzky is the only player to win the trophy for more than one team, while Thornton is the only player to win it while playing for two different teams in one season. Stan Mikita is the only player in NHL history to win the Art Ross, Hart, and Lady Byng Trophies all in the same season, which he did twice ( and , with Chicago; Gretzky, Bobby Hull, and Martin St. Louis all won each of those awards at least once and won a combination of two of them in the same season, but never all three together). Orr is the only defenseman to win the scoring title, doing so in 1970 and 1975 with Boston, and in 1970 he became the first player to capture four individual awards in a single season as he won the Hart, Norris, and Conn Smythe Trophies that year as well.\n\nIn 2007, Sidney Crosby became the youngest player to win the Art Ross Trophy at age 19, and also became the youngest scoring champion in any major North American professional sport. At almost twice Crosby's age, Martin St. Louis became the oldest player to capture the Art Ross at the age of 37, also having the longest gap between scoring titles (nine years). Henrik and Daniel Sedin are the only siblings to win the award, in 2010 and 2011, respectively. Since 2001, only four players, Connor McDavid, Crosby, Evgeni Malkin, and St. Louis have won the award more than once: Crosby in 2007 and 2014, Malkin in 2009 and 2012, St. Louis in 2004 and 2013, and McDavid in 2017, 2018 and 2021. McDavid and Gretzky are the only players to win multiple Art Ross trophies before age 21.\n\nThe NHL rules stipulate three tiebreakers in case two or more players are tied in points:\nPlayer with most goals\nPlayer with fewer games played\nPlayer scoring first goal of the season\n\nScoring ties happened in the , , and seasons, all of them being decided by the first tiebreaker of scoring more goals. In those respective seasons, Hull won over Andy Bathgate, Dionne over Gretzky, and Jagr over Eric Lindros. The NHL's award to recognize the leading goal-scorer, the Maurice \"Rocket\" Richard Trophy, does not have a tiebreaker, allowing multiple winners to be recognized in any one season.\n\nWinners\n\nBold Player with the most points ever scored in a season.\n\nSee also\nList of National Hockey League awards\nList of NHL players\nList of NHL statistical leaders\n\nReferences\n\nSpecific\n\nGeneral\nArt Ross Trophy at NHL.com\nArt Ross Trophy history at Legends of Hockey.net\n\nNational Hockey League trophies and awards\nAwards established in 1948"
] |
[
"Gil Hodges",
"Managerial career"
] |
C_3e1a8ac1e68e4c7e974b88078021f226_1
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When did he start his managerial career?
| 1 |
When did Gil Hodges start his managerial career?
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Gil Hodges
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After 11 games with the Mets in 1963, during which he batted .227 with no homers and was plagued by injuries, he was traded to the Washington Senators in late May for outfielder Jimmy Piersall so that he could replace Mickey Vernon as Washington's manager. Hodges immediately announced his retirement from playing in order to clearly focus on his new position. The Giants' Willie Mays had passed him weeks earlier on April 19 to become the NL's home run leader among right-handed hitters; Hodges' last game had been on May 5 in a doubleheader hosting the Giants (who had moved to San Francisco in 1958). Hodges managed the Senators through 1967, and although they improved in each season they never achieved a winning record. One of the most notable incidents in his career occurred in the summer of 1965, when pitcher Ryne Duren - reaching the end of his career and sinking into alcoholism - walked onto a bridge with intentions of suicide; his manager talked him away from the edge. In 1968 Hodges was brought back to New York to manage the perennially woeful Mets, and while the team only posted a 73-89 record it was nonetheless the best mark in their seven years of existence up to that point. In 1969, he led the "Miracle Mets" to the World Series championship, defeating the heavily favored Baltimore Orioles; after losing Game 1, they came back for four straight victories, including two by 2-1 scores. Finishing higher than ninth place for the first time, the Mets became not only the first expansion team to win a World Series, but also the first team ever to win the Fall Classic after finishing at least 15 games under .500 the previous year. Hodges was named The Sporting News' Manager of the Year, in skillfully platooning his players, utilizing everyone in the dugout, keeping everyone fresh. Hodges continued as manager through the 1971 season. He died before the opening of the 1972 season and was succeeded by Yogi Berra. In the second game of doubleheader on July 30, 1969, the Houston Astros, after scoring 11 runs in the ninth inning of the first game, were in the midst of a 10-run third inning, hitting a number of line drives to left field. When the Mets' star left fielder Cleon Jones failed to hustle after a ball hit to the outfield, Hodges removed him from the game, but rather than simply signal from the dugout for Jones to come out, or delegate the job to one of his coaches, Hodges left the dugout and slowly, deliberately, walked all the way out to left field to remove Jones, and walked him back to the dugout, which was a resounding message to the whole team. Jones reportedly never again had to be reminded to hustle. Ralph Kiner retold that story dozens of times during Mets broadcasts, both as a tribute to Hodges, and as an illustration of his quiet but disciplined character. CANNOTANSWER
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After 11 games with the Mets in 1963, during which he batted .227 with no homers and was plagued by injuries,
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Gilbert Ray Hodges (né Hodge; April 4, 1924 – April 2, 1972) was an American first baseman and manager in Major League Baseball (MLB) who played most of his 18-year career for the Brooklyn / Los Angeles Dodgers.
Hodges was widely regarded as the major leagues' outstanding first baseman in the 1950s, with teammate Duke Snider being the only player to have more home runs or runs batted in during the decade. He held the National League (NL) record for career home runs by a right-handed hitter from 1960 to 1963, with his final total of 370 briefly ranking tenth in major league history; he held the NL record for career grand slams from 1957 to 1974. An eight-time All-Star, he anchored the infield on six pennant winners, and remains one of the most beloved and admired players in team history. A sterling defensive player, he won the first three Gold Glove Awards and led the NL in double plays four times and in putouts, assists and fielding percentage three times each. He ranked second in NL history with 1,281 assists and 1,614 double plays when his career ended, and was among the league's career leaders in games (6th, 1,908) and total chances (10th, 16,751) at first base. He managed the New York Mets to the 1969 World Series title, one of the greatest upsets in sports history, before his death from a sudden heart attack at age 47. He was inducted into the New York Mets Hall of Fame in 1982, and was elected to the Baseball Hall of Fame in December 2021 for induction in .
Early years
Hodges was born in Princeton, Indiana, the son of coal miner Charles and his wife Irene, (nee Horstmeyer). He had an older brother, Robert, and a younger sister, Marjorie. The family moved to nearby Petersburg when Hodges was seven. He was a star four-sport athlete at Petersburg High School, earning a combined seven varsity letters in football, baseball, basketball and track. Hodges declined a contract offer from the Detroit Tigers, instead attending Saint Joseph's College with the hope of eventually becoming a collegiate coach. Hodges spent two years (1941–1942 and 1942–1943) at St Joseph's, competing in baseball, basketball and briefly in football.
He was signed by his agent, Gabriel Levi, of the Brooklyn Dodgers in 1943, and appeared in one game for the team as a third baseman that year. Hodges entered the United States Marine Corps during World War II after having participated in its Reserve Officers' Training Corps program at Saint Joseph's. He served in combat as an anti-aircraft gunner in the 16th Anti-Aircraft Artillery Battalion, participating in the battles of Tinian and Okinawa, and received a Bronze Star Medal with Combat "V" for heroism under fire.
Following the war, Hodges also spent time completing course work at Oakland City University, near his hometown, playing basketball for the Mighty Oaks, joining the 1947–48 team after four games (1–3 record); they finished at 9–10. One of his teammates, Bob Lochmueller, would go on to star at the University of Louisville and play in the NBA.
Brooklyn/Los Angeles Dodgers
Hodges was discharged from the Marine Corps in 1946, and returned to the Dodgers organization as a catcher with the Newport News Dodgers of the Piedmont League, batting .278 in 129 games as they won the league championship; his teammates included first baseman and future film and television star Chuck Connors.
Hodges was called up to Brooklyn in 1947, the same year that Jackie Robinson broke baseball's color barrier. He played as a catcher, joining the team's nucleus of Robinson, Pee Wee Reese and Carl Furillo. With the emergence of Roy Campanella behind the plate, manager Leo Durocher shifted Hodges to first base. Hodges' only appearance in the 1947 World Series against the New York Yankees was as a pinch hitter for pitcher Rex Barney in Game Seven, but he struck out. As a rookie in , he batted .249 with 11 home runs and 70 runs batted in.
On June 25, , Hodges hit for the cycle on his way to his first of seven consecutive All-Star teams. For the season, his 115 runs batted in ranked fourth in the NL, and he tied Hack Wilson's club record for right-handed hitters with 23 home runs. Defensively, he led the NL in putouts (1,336), double plays (142) and fielding average (.995). Facing the Yankees again in the Series, he batted only .235 but drove in the sole run in Brooklyn's only victory, a 1–0 triumph in Game
Two. In game five, he hit a two out, three-run homer in the seventh to pull the Dodgers within 10–6, but struck out to end the game and the Series.
On August 31, against the Boston Braves, Hodges joined Lou Gehrig as only the second player since 1900 to hit four home runs in a game without the benefit of extra innings; he hit them against four different pitchers, with the first coming off Warren Spahn. He also had seventeen total bases in the game, tied for third in MLB history.
That year he also led the league in fielding (.994) and set an NL record with 159 double plays, breaking Frank McCormick's mark of 153 with the Cincinnati Reds; he broke his own record in 1951 with 171, a record which stood until Donn Clendenon had 182 for the 1966 Pittsburgh Pirates. He finished 1950 third in the league in both homers (32) and runs batted in (113), and came in eighth in the Most Valuable Player voting. In 1951 he became the first member of the Dodgers to ever hit 40 home runs, breaking Babe Herman's 1930 mark of 35; Campanella hit 41 in 1953, but Hodges recaptured the record with 42 in 1954 before Snider eclipsed him again with 43 in 1956. His last home run of 1951 came on October 2 against the New York Giants, as the Dodgers tied the three-game NL playoff series at a game each with a 10–0 win; New York won the pennant the next day on Bobby Thomson's "Shot Heard 'Round the World". Hodges also led the NL with 126 assists in 1951, and was second in home runs, third in runs (118) and total bases (307), fifth in slugging percentage (.527), and sixth in runs batted in (103).
Hodges was an eight-time All-Star, from 1949 to 1955 and in 1957. With his last home run of 1952, he tied Dolph Camilli's Dodger career record of 139, surpassing him in 1953; Snider moved ahead of Hodges in 1956. He again led the NL with 116 assists in the 1952 campaign and was third in the league in home runs (32) and fourth in runs batted in (102) and slugging (.500).
A great fan favorite in Brooklyn, Hodges was perhaps the only Dodgers regular never booed at their home park Ebbets Field. Fans were supportive even when Hodges suffered through one of the most famous slumps in baseball history: after going hitless in his last four regular-season games of 1952, he also went hitless in all seven games of the 1952 World Series against the Yankees (finishing the Series 0-for-21 at the plate), with Brooklyn losing to the Yankees in the seven games. When Hodges' slump continued into the following spring, fans reacted with countless letters and good-luck gifts, and one Brooklyn priest – Father Herbert Redmond of St. Francis Roman Catholic Church – told his flock: "It's far too hot for a homily. Keep the Commandments and say a prayer for Gil Hodges." Hodges began hitting again soon afterward, and rarely struggled again in the World Series. Teammate Carl Erskine, who described himself as a good Baptist, kidded him by saying, "Gil, you just about made a believer out of me."
Hodges was involved in a blown call in the 1952 World Series. Johnny Sain was batting for the Yankees in the 10th inning of Game 5 and grounded out, as ruled by first base umpire Art Passarella. The photograph of the play, however, shows Sain stepping on first base while Hodges, also with a foot on the bag, is reaching for the ball that is about a foot shy of entering his glove. Baseball commissioner Ford Frick, an ex-newspaperman himself, refused to defend Passarella.
Hodges ended 1953 with a .302 batting average, finishing fifth in the NL in runs batted in (122) and sixth in home runs (31). Against the Yankees in the 1953 Series, Hodges hit .364; he had three hits, including a homer in the 9–5 Game 1 loss, but the Dodgers again lost in six games. Under their new manager Walter Alston in 1954, Hodges set the team home run record with 42, hitting a career-high .304 and again leading the NL in putouts (1,381) and assists (132). He was second in the league to Ted Kluszewski in home runs and runs batted in (130), fifth in total bases (335), and sixth in slugging (.579) and runs (106), and placed tenth in the Most Valuable Player vote.
The Boys of Summer
In the 1955 season, Hodges' regular-season production declined to a .289 average, 27 home runs and 102 runs batted in. Facing the Yankees in the World Series for the fifth time, he was 1-for-12 in the first three games before coming around. In Game 4, Hodges hit a two-run homer in the fourth inning to put Brooklyn ahead, 4–3, and later had a single that drove in a run as they held off the Yankees, 8–5; he also scored the first run in the Dodgers' 5–3 win in Game 5. In Game 7, he drove in Campanella with two out in the fourth inning for a 1–0 lead and added a sacrifice fly to score Reese with one out in the sixth inning. Johnny Podres scattered eight New York hits, and when Reese threw Elston Howard's grounder to Hodges for the final out, Brooklyn had a 2–0 win and their first World Series title in franchise history and their only championship in Brooklyn.
In 1956, Hodges had 32 home runs and 87 runs batted in as Brooklyn won the pennant again, and once more met the Yankees in the World Series. In the third inning of Game 1, he hit a three-run homer to put Brooklyn ahead, 5–2, as they went on to a 6–3 win; he had three hits and four runs batted in during the 13–8 slugfest in Game 2, scoring to give the Dodgers a 7–6 lead in the third and doubling in two runs each in the fourth and fifth innings for an 11–7 lead. In Don Larsen's perfect game Hodges struck out, flied to center, and lined to third base, as Brooklyn went on to lose in seven games.
In 1957 Hodges set the NL record for career grand slams, breaking the mark of 12 shared by Rogers Hornsby and Ralph Kiner; his final total of 14 was tied by Hank Aaron and Willie McCovey in 1972, and broken by Aaron in 1974. He finished seventh in the NL with a .299 batting average and fifth with 98 runs batted in, and leading the league with 1,317 putouts. He was also among the NL's top ten players in home runs (27), hits (173), runs (94), triples (7), slugging (.511) and total bases (296); in late September, he drove in the last Dodgers run ever at Ebbets Field, and the last run in Brooklyn history. Hodges was named to his last All-Star team and placed seventh in the Most Valuable Player balloting, the highest position in his career.
After the Dodgers relocated to Los Angeles, on April 23, 1958, Hodges became the seventh player to hit 300 home runs in the NL, connecting off Dick Drott of the Chicago Cubs. That year he also tied a post-1900 record by leading the league in double plays (134) for the fourth time, equaling Frank McCormick and Ted Kluszewski; Donn Clendenon eventually broke the record in 1968. Hodges' totals were 22 home runs and 64 runs batted in as the Dodgers finished in seventh place in their first season in California. He also broke Dolph Camilli's NL record of 923 career strikeouts in 1958.
In 1959, the Dodgers captured another NL title, with Hodges contributing 25 home runs, 80 runs batted in, and a batting average of .276, coming in seventh in the league with a .513 slugging mark; he also led the NL with a .992 fielding average. He batted .391 in the 1959 World Series against the Chicago White Sox (his first against a team other than the Yankees), with his solo home run in the eighth inning of Game 4 giving the Dodgers a 5–4 win, as they triumphed in six games for another Series championship.
In 1960, Hodges broke Kiner's NL record for right-handed hitters of 351 career home runs, and appeared on the TV program Home Run Derby. In his last season with the Dodgers in 1961, he became the team's career runs batted in leader with 1,254, passing Zack Wheat; Snider moved ahead of him the following year. Hodges received the first three Rawlings Gold Glove Awards, from 1957 to 1959.
Return to New York
After being chosen in the 1961 MLB Expansion Draft, Hodges was one of the original 1962 Mets and despite knee problems was persuaded to continue his playing career in New York, hitting the first home run in franchise history. By the end of the year, in which he played only 54 games, he ranked tenth in MLB history with 370 home runs – second to only Jimmie Foxx among right-handed hitters. He also held the National League (NL) record for career home runs by a right-handed hitter from 1960 to 1963, and held the NL record for career grand slams from 1957 to 1974.
Managerial career
After 11 games with the Mets in 1963, during which he batted .227 with no homers and was plagued by injuries, he was traded to the Washington Senators in late May for outfielder Jimmy Piersall so that he could replace Mickey Vernon as Washington's manager. Hodges immediately announced his retirement from playing in order to focus on his new position. The Giants' Willie Mays had passed him weeks earlier on April 19 to become the NL's home run leader among right-handed hitters; Hodges' last game had been on May 5 in a doubleheader hosting the Giants (who had moved to San Francisco in 1958). Hodges managed the Senators through 1967, and although they improved in each season they never achieved a winning record.
In 1968 Hodges was brought back to New York to manage the perennially woeful Mets, and while the team only posted a 73–89 record it was nonetheless the best mark in their seven years of existence up to that point.
In the second game of doubleheader on July 30, 1969, the Houston Astros, after scoring 11 runs in the ninth inning of the first game, were in the midst of a 10-run third inning, hitting a number of line drives to left field. When the Mets' star left fielder Cleon Jones failed to hustle after a ball hit to the outfield, Hodges removed him from the game, but rather than simply signal from the dugout for Jones to come out, or delegate the job to one of his coaches, Hodges left the dugout and slowly, deliberately, walked all the way out to left field to remove Jones, and walked him back to the dugout, which was a resounding message to the whole team. Jones reportedly never again had to be reminded to hustle.
That year, Hodges led the "Miracle Mets" to the World Series championship, defeating the heavily favored Baltimore Orioles; after losing Game 1, the team came back for four straight victories, including two by 2–1 scores. Finishing higher than ninth place for the first time, the Mets became not only the first expansion team to win a World Series, but also the first team ever to win the Fall Classic after finishing at least 15 games under .500 the previous year. Hodges was named The Sporting News Manager of the Year, in skillfully platooning his players, utilizing everyone in the dugout, keeping everyone fresh. Hodges continued as manager through the 1971 season. He died before the opening of the 1972 season and was succeeded by Yogi Berra.
Death and impact
On the afternoon of April 2, 1972, Easter Sunday, Hodges was in West Palm Beach, Florida completing a round of golf with Mets coaches Joe Pignatano, Rube Walker, and Eddie Yost, when he collapsed en route to his motel room at the Ramada Inn across the street from Municipal Stadium, then the spring training facility of the Atlanta Braves and Montreal Expos. Hodges had suffered a sudden heart attack and was rushed to Good Samaritan Hospital where he died within 20 minutes of arrival. Pignatano later recalled Hodges falling backwards and hitting his head on the sidewalk with a "sickening knock", bleeding profusely and turning blue. Pignatano said "I put my hand under Gil's head, but before you knew it, the blood stopped. I knew he was dead. He died in my arms." A lifelong chain smoker, Hodges had suffered a minor heart attack in 1968, during a game in late September.
Jackie Robinson, himself ill with heart disease and diabetes, told the Associated Press, "He was the core of the Brooklyn Dodgers. With this, and what's happened to Campy (Roy Campanella) and lot of other guys we played with, it scares you. I've been somewhat shocked by it all. I have tremendous feelings for Gil's family and kids." Robinson died of a heart attack six months later on October 24 at age 53.
Duke Snider said "Gil was a great player, but an even greater man." "I'm sick," said Johnny Podres, "I've never known a finer man." A crushed Carl Erskine said "Gil's death is like a bolt out of the blue." Don Drysdale, who himself died in Montreal of a sudden heart attack in 1993 at age 56, wrote in his autobiography that Hodges' death "absolutely shattered me. I just flew apart. I didn't leave my apartment in Texas for three days. I didn't want to see anybody. I couldn't get myself to go to the funeral. It was like I'd lost a part of my family."
The wake was held at Torregrossa Funeral Home, on Flatbush Ave in Brooklyn. The funeral was held at Our Lady Help of Christians Church in Midwood, Brooklyn, on April 4, what would have been Hodges' 48th birthday. Approximately 10,000 mourners attended the service.
Television broadcaster Howard Cosell was one of the many attendees at the wake. According to Gil Hodges Jr., Cosell brought him into the back seat of a car, where Jackie Robinson had been crying hysterically. Robinson then held Hodges Jr. and said, "Next to my son's death, this is the worst day of my life."
Hodges was survived by his wife, the former Joan Lombardi (b. 1926 in Brooklyn), whom he had married on December 26, 1948, and their children Gil Jr. (b. 1950), Irene, Cynthia and Barbara. He is buried at Holy Cross Cemetery in East Flatbush, Brooklyn.
Yogi Berra succeeded him as manager, having been promoted on the day of the funeral. The American flag flew at half-staff on Opening Day at Shea Stadium, while the Mets wore black armbands on their left arms during the entire 1972 season in honor of Hodges. On June 9, 1973, the Mets again honored Hodges by retiring his uniform number 14.
Accomplishments
Hodges batted .273 in his career with a .487 slugging percentage, 1,921 hits, 1,274 runs batted in, 1,105 runs, 370 home runs, 295 doubles and 63 stolen bases in 2,071 games. His 361 home runs with the Dodgers remain second in team history to Snider's 389. His 1,614 career double plays placed him behind only Charlie Grimm (1733) in NL history, and were a major league record for a right-handed fielding first baseman until Chris Chambliss surpassed him in 1984. His 1,281 career assists ranked second in league history to Fred Tenney's 1,363, and trailed only Ed Konetchy's 1,292 among all right-handed first basemen. Snider broke his NL record of 1,137 career strikeouts in 1964. When he retired after the 1963 season, he had hit the most home runs (370) ever by a right-handed batter up to that point in time (surpassed by Willie Mays) and the most career grand slams (14) by a National League player (eclipsed by Willie McCovey). He shares the major league record of having hit four home runs in a single game (only 18 players have ever done so in MLB history).
Legacy
Hodges received New York City's highest civilian honor, the Bronze Medallion, in 1969. On April 4, 1978 (what would have been Hodges' 54th birthday), the Marine Parkway Bridge, connecting Marine Park, Brooklyn with Rockaway, Queens, was renamed the Marine Parkway–Gil Hodges Memorial Bridge in his memory. Other Brooklyn locations named for him are a park on Carroll Street, a Little League field on Shell Road in Brooklyn, a section of Avenue L and P.S. 193. In addition, part of Bedford Avenue in Midwood, Brooklyn, is named Gil Hodges Way. A bowling alley in Mill Basin, Brooklyn, was formerly named Gil Hodges Lanes in his honor.
In Indiana, the high school baseball stadium in his birthplace of Princeton and a bridge spanning the East Fork of the White River in northern Pike County on State Road 57 bear his name. In addition, a Petersburg Little League baseball team is named in his honor, the Hodges Dodgers. In 2009, a mural was dedicated in Petersburg featuring pictures of Hodges as a Brooklyn Dodger, as manager of the New York Mets, and batting at Ebbets Field.
Hodges became an inaugural member of the Indiana Baseball Hall of Fame in 1979. He was inducted into the New York Mets Hall of Fame in 1982. In 2007, Hodges was inducted into the Marine Corps Sports Hall of Fame. In 2021, he was inducted in the New York State Sports Hall of Fame.
In 2000, Hodges was featured in the documentary Gil Hodges: The Quiet Man, based on the book of the same name by author Marino Amoruso. In November 2021, a 30-minute documentary—The Gil Hodges Story: Soul Of A Champion—was released and features interviews with Vin Scully, Tommy Lasorda, Carl Erskine, Gil Hodges Jr., and members of the 1969 New York Mets.
Hall of Fame consideration
Background
For decades, there was controversy over Hodges not being selected for induction to the Baseball Hall of Fame. He was considered to be one of the finest players of the 1950s, and graduated to managerial success with the Mets. However, critics of his candidacy pointed out that despite his offensive prowess, he never led the National League in any offensive category such as home runs, runs batted in, or slugging percentage, and never came close to winning a Most Valuable Player award. Additionally, until the election of Tony Pérez in 2000, every first baseman in the Hall had either 500 career home runs or a batting average over .295; at the time of Hodges' death, the BBWAA had only elected two position players (Rabbit Maranville and Roy Campanella) with batting averages below .285. Hodges' not having been voted an MVP may have resulted in part from his having had some of his best seasons (1950, 1954 and 1957) in years when the Dodgers did not win the pennant.
BBWAA candidate
After last playing in the major leagues during the 1963 season, Hodges first appeared on the 1969 ballot, receiving 24.1% of ballots cast by BBWAA electors, with 75% the threshold for election. He was considered annually through the 1983 ballot, his 15th and final ballot appearance under BBWAA rules at the time. He appeared on 63.4% of ballots in 1983 voting, the highest percentage of his candidacy. Hodges collected 3,010 votes cast by the BBWAA from 1969 to 1983, the most votes for an unselected player until surpassed by Jim Rice in 2008, prior to Rice's election the following year.
Veterans Committee candidate
Hodges was considered for selection by the Hall of Fame's Veterans Committee starting in 1987. Voting by the committee was held in closed sessions for many years, but results are known for Hodges in voting (61%), (65%), (61%), and (43.8%). Each time, Hodges fell short of the 75% minimum required for election.
Golden Era / Golden Days candidate
In 2011, Hodges became a Golden Era candidate (1947–1972 era) for consideration to be elected to the Hall of Fame by the Golden Era Committee, which replaced the Veterans Committee in 2010. In December 2011, voting by the committee took place during the Hall of Fame's two-day winter meeting in Dallas, Texas. Induction to the Hall requires at least 12 votes (75%) from the 16-member committee. Of 10 candidates, Ron Santo was the only one elected, having received 15 votes; Jim Kaat had 10 votes, and Hodges and Minnie Miñoso were tied with nine votes.
Hodges' next opportunity under the Golden Era Committee was in December 2014, when the committee voted at the MLB winter meeting. Hodges received only three votes, and none of the other eight player candidates on the ballot were elected to the Hall of Fame, including Dick Allen and Tony Oliva, who each fell one vote shy of the 12-vote threshold. In July 2016, the Golden Era committee was succeeded by the Golden Days committee (1950–1969 era).
Hodges was one of 10 nominees named on November 5, 2021 to the Golden Days Era ballot for Hall of Fame consideration. On December 5, the Hall of Fame announced Hodges' election, having received 12 of 16 votes to meet the 75% threshold.
See also
List of lifetime home run leaders through history
List of Major League Baseball career home run leaders
List of Gold Glove Award winners at first base
Lou Gehrig Memorial Award
List of Major League Baseball retired numbers
List of Major League Baseball career runs scored leaders
List of Major League Baseball career runs batted in leaders
List of Major League Baseball players to hit for the cycle
List of Major League Baseball single-game home run leaders
References
Further reading
Books
Articles
External links
Gil Hodges at the Baseball Hall of Fame
1924 births
1972 deaths
Major League Baseball first basemen
Brooklyn Dodgers players
Los Angeles Dodgers players
New York Mets players
National League All-Stars
Gold Glove Award winners
Major League Baseball players with retired numbers
Baseball players from Indiana
Newport News Dodgers players
New York Mets managers
Washington Senators (1961–1971) managers
Hod
Major League Baseball managers with retired numbers
United States Marine Corps personnel of World War II
Saint Joseph's Pumas baseball players
Saint Joseph's Pumas football players
Saint Joseph's Pumas men's basketball players
Sportspeople from Brooklyn
People from Princeton, Indiana
Burials at Holy Cross Cemetery, Brooklyn
People from Petersburg, Indiana
People from Midwood, Brooklyn
United States Marines
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"Troy Pipkin Agnew (August 8, 1890 in Farmington, Missouri, USA – November 23, 1971 in Richmond County, Georgia) was a minor league baseball catcher and manager. His brother is Sam Agnew.\n\nPlaying career\nAgnew began his playing career in 1914. He did not play in 1916, 1917 or 1918, and in his first year back in 1919 he hit only .144 in 222 at-bats. In ten minor league seasons, he hit above .250 only twice, in 1922 and 1924. He did not play in 1926, and 1927 was his final season. In May 1922, he bought his release from Augusta, with whom he had been playing, and headed to Okmulgee for his first managerial assignment.\n\nManagerial career\nAgnew often served as a player-manager.\n\nYear-by-Year Managerial Record \n(from Baseball Reference Bullpen)\n\nAgnew ran the Augusta franchise in the 1930s, buying the ballclub in 1929. Prior to owning it, he served as its business manager. His brother Sam managed. He would later buy the Palatka Azaleas and serve as the business manager of the Sumter Chicks. He served as vice-president of the South Atlantic League for a spell.\n\nReferences\n\nExternal links\n\n1890 births\n1971 deaths\nMinor league baseball managers\nPeople from Farmington, Missouri\nBaseball players from Missouri\nBaseball catchers",
"Nosrat Irandoost (, born May 1, 1949) is a retired Iranian football player and manager. He is currently technical director of Malavan.\n\nPlaying career\nIrandoost spent his entire career playing for Malavan. In 1976, he helped the team win the Hazfi Cup. In 1977, Irandoost was hired as a player-coach by his team Malavan. This arrangement lasted shortly, as he retired in 1981.\n\nIrandoost was capped by the Iran national football team once, playing in a game against Turkey in the 1974 RCD Cup.\n\nManagerial career\nAfter his retirement in 1981, Irandoost started his managerial career in 1997 with Malavan F.C. His tenure ended when the team hired Mohammad Ahmadzadeh in 2000. After taking a short break from coaching, Irandoost was hired was an assistant coach to Majid Jalali at Pas Tehran. However, when Jalili was fired and replaced with Homayoun Shahrokhi, Irandoost also found himself out of a job.\n\nIn 2007, Irandoost was hired as the manager of Shahin Bushehr. However, his placement was short-lived, as the team did poorly, placing 8th in the 2007–08 Azadegan League and making a first round exit from the Hazfi Cup. Irandoost continued his managerial career the following season at Shahrdari Bandar Abbas. Much like his previous tenure, his time at the club ended early due to poor results.\n\nIrandoost became the head coach of 2nd Division club Chooka Talesh in 2011, before returning to Malavan in 2014.\n\nReferences\n\nLiving people\nIranian footballers\nMalavan players\nIranian football managers\n1949 births\nAssociation football midfielders"
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C_3e1a8ac1e68e4c7e974b88078021f226_1
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Which teams did he manage?
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Which teams did Gil Hodges manage?
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Gil Hodges
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After 11 games with the Mets in 1963, during which he batted .227 with no homers and was plagued by injuries, he was traded to the Washington Senators in late May for outfielder Jimmy Piersall so that he could replace Mickey Vernon as Washington's manager. Hodges immediately announced his retirement from playing in order to clearly focus on his new position. The Giants' Willie Mays had passed him weeks earlier on April 19 to become the NL's home run leader among right-handed hitters; Hodges' last game had been on May 5 in a doubleheader hosting the Giants (who had moved to San Francisco in 1958). Hodges managed the Senators through 1967, and although they improved in each season they never achieved a winning record. One of the most notable incidents in his career occurred in the summer of 1965, when pitcher Ryne Duren - reaching the end of his career and sinking into alcoholism - walked onto a bridge with intentions of suicide; his manager talked him away from the edge. In 1968 Hodges was brought back to New York to manage the perennially woeful Mets, and while the team only posted a 73-89 record it was nonetheless the best mark in their seven years of existence up to that point. In 1969, he led the "Miracle Mets" to the World Series championship, defeating the heavily favored Baltimore Orioles; after losing Game 1, they came back for four straight victories, including two by 2-1 scores. Finishing higher than ninth place for the first time, the Mets became not only the first expansion team to win a World Series, but also the first team ever to win the Fall Classic after finishing at least 15 games under .500 the previous year. Hodges was named The Sporting News' Manager of the Year, in skillfully platooning his players, utilizing everyone in the dugout, keeping everyone fresh. Hodges continued as manager through the 1971 season. He died before the opening of the 1972 season and was succeeded by Yogi Berra. In the second game of doubleheader on July 30, 1969, the Houston Astros, after scoring 11 runs in the ninth inning of the first game, were in the midst of a 10-run third inning, hitting a number of line drives to left field. When the Mets' star left fielder Cleon Jones failed to hustle after a ball hit to the outfield, Hodges removed him from the game, but rather than simply signal from the dugout for Jones to come out, or delegate the job to one of his coaches, Hodges left the dugout and slowly, deliberately, walked all the way out to left field to remove Jones, and walked him back to the dugout, which was a resounding message to the whole team. Jones reportedly never again had to be reminded to hustle. Ralph Kiner retold that story dozens of times during Mets broadcasts, both as a tribute to Hodges, and as an illustration of his quiet but disciplined character. CANNOTANSWER
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Hodges managed the Senators through 1967, and although they improved in each season they never achieved a winning record.
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Gilbert Ray Hodges (né Hodge; April 4, 1924 – April 2, 1972) was an American first baseman and manager in Major League Baseball (MLB) who played most of his 18-year career for the Brooklyn / Los Angeles Dodgers.
Hodges was widely regarded as the major leagues' outstanding first baseman in the 1950s, with teammate Duke Snider being the only player to have more home runs or runs batted in during the decade. He held the National League (NL) record for career home runs by a right-handed hitter from 1960 to 1963, with his final total of 370 briefly ranking tenth in major league history; he held the NL record for career grand slams from 1957 to 1974. An eight-time All-Star, he anchored the infield on six pennant winners, and remains one of the most beloved and admired players in team history. A sterling defensive player, he won the first three Gold Glove Awards and led the NL in double plays four times and in putouts, assists and fielding percentage three times each. He ranked second in NL history with 1,281 assists and 1,614 double plays when his career ended, and was among the league's career leaders in games (6th, 1,908) and total chances (10th, 16,751) at first base. He managed the New York Mets to the 1969 World Series title, one of the greatest upsets in sports history, before his death from a sudden heart attack at age 47. He was inducted into the New York Mets Hall of Fame in 1982, and was elected to the Baseball Hall of Fame in December 2021 for induction in .
Early years
Hodges was born in Princeton, Indiana, the son of coal miner Charles and his wife Irene, (nee Horstmeyer). He had an older brother, Robert, and a younger sister, Marjorie. The family moved to nearby Petersburg when Hodges was seven. He was a star four-sport athlete at Petersburg High School, earning a combined seven varsity letters in football, baseball, basketball and track. Hodges declined a contract offer from the Detroit Tigers, instead attending Saint Joseph's College with the hope of eventually becoming a collegiate coach. Hodges spent two years (1941–1942 and 1942–1943) at St Joseph's, competing in baseball, basketball and briefly in football.
He was signed by his agent, Gabriel Levi, of the Brooklyn Dodgers in 1943, and appeared in one game for the team as a third baseman that year. Hodges entered the United States Marine Corps during World War II after having participated in its Reserve Officers' Training Corps program at Saint Joseph's. He served in combat as an anti-aircraft gunner in the 16th Anti-Aircraft Artillery Battalion, participating in the battles of Tinian and Okinawa, and received a Bronze Star Medal with Combat "V" for heroism under fire.
Following the war, Hodges also spent time completing course work at Oakland City University, near his hometown, playing basketball for the Mighty Oaks, joining the 1947–48 team after four games (1–3 record); they finished at 9–10. One of his teammates, Bob Lochmueller, would go on to star at the University of Louisville and play in the NBA.
Brooklyn/Los Angeles Dodgers
Hodges was discharged from the Marine Corps in 1946, and returned to the Dodgers organization as a catcher with the Newport News Dodgers of the Piedmont League, batting .278 in 129 games as they won the league championship; his teammates included first baseman and future film and television star Chuck Connors.
Hodges was called up to Brooklyn in 1947, the same year that Jackie Robinson broke baseball's color barrier. He played as a catcher, joining the team's nucleus of Robinson, Pee Wee Reese and Carl Furillo. With the emergence of Roy Campanella behind the plate, manager Leo Durocher shifted Hodges to first base. Hodges' only appearance in the 1947 World Series against the New York Yankees was as a pinch hitter for pitcher Rex Barney in Game Seven, but he struck out. As a rookie in , he batted .249 with 11 home runs and 70 runs batted in.
On June 25, , Hodges hit for the cycle on his way to his first of seven consecutive All-Star teams. For the season, his 115 runs batted in ranked fourth in the NL, and he tied Hack Wilson's club record for right-handed hitters with 23 home runs. Defensively, he led the NL in putouts (1,336), double plays (142) and fielding average (.995). Facing the Yankees again in the Series, he batted only .235 but drove in the sole run in Brooklyn's only victory, a 1–0 triumph in Game
Two. In game five, he hit a two out, three-run homer in the seventh to pull the Dodgers within 10–6, but struck out to end the game and the Series.
On August 31, against the Boston Braves, Hodges joined Lou Gehrig as only the second player since 1900 to hit four home runs in a game without the benefit of extra innings; he hit them against four different pitchers, with the first coming off Warren Spahn. He also had seventeen total bases in the game, tied for third in MLB history.
That year he also led the league in fielding (.994) and set an NL record with 159 double plays, breaking Frank McCormick's mark of 153 with the Cincinnati Reds; he broke his own record in 1951 with 171, a record which stood until Donn Clendenon had 182 for the 1966 Pittsburgh Pirates. He finished 1950 third in the league in both homers (32) and runs batted in (113), and came in eighth in the Most Valuable Player voting. In 1951 he became the first member of the Dodgers to ever hit 40 home runs, breaking Babe Herman's 1930 mark of 35; Campanella hit 41 in 1953, but Hodges recaptured the record with 42 in 1954 before Snider eclipsed him again with 43 in 1956. His last home run of 1951 came on October 2 against the New York Giants, as the Dodgers tied the three-game NL playoff series at a game each with a 10–0 win; New York won the pennant the next day on Bobby Thomson's "Shot Heard 'Round the World". Hodges also led the NL with 126 assists in 1951, and was second in home runs, third in runs (118) and total bases (307), fifth in slugging percentage (.527), and sixth in runs batted in (103).
Hodges was an eight-time All-Star, from 1949 to 1955 and in 1957. With his last home run of 1952, he tied Dolph Camilli's Dodger career record of 139, surpassing him in 1953; Snider moved ahead of Hodges in 1956. He again led the NL with 116 assists in the 1952 campaign and was third in the league in home runs (32) and fourth in runs batted in (102) and slugging (.500).
A great fan favorite in Brooklyn, Hodges was perhaps the only Dodgers regular never booed at their home park Ebbets Field. Fans were supportive even when Hodges suffered through one of the most famous slumps in baseball history: after going hitless in his last four regular-season games of 1952, he also went hitless in all seven games of the 1952 World Series against the Yankees (finishing the Series 0-for-21 at the plate), with Brooklyn losing to the Yankees in the seven games. When Hodges' slump continued into the following spring, fans reacted with countless letters and good-luck gifts, and one Brooklyn priest – Father Herbert Redmond of St. Francis Roman Catholic Church – told his flock: "It's far too hot for a homily. Keep the Commandments and say a prayer for Gil Hodges." Hodges began hitting again soon afterward, and rarely struggled again in the World Series. Teammate Carl Erskine, who described himself as a good Baptist, kidded him by saying, "Gil, you just about made a believer out of me."
Hodges was involved in a blown call in the 1952 World Series. Johnny Sain was batting for the Yankees in the 10th inning of Game 5 and grounded out, as ruled by first base umpire Art Passarella. The photograph of the play, however, shows Sain stepping on first base while Hodges, also with a foot on the bag, is reaching for the ball that is about a foot shy of entering his glove. Baseball commissioner Ford Frick, an ex-newspaperman himself, refused to defend Passarella.
Hodges ended 1953 with a .302 batting average, finishing fifth in the NL in runs batted in (122) and sixth in home runs (31). Against the Yankees in the 1953 Series, Hodges hit .364; he had three hits, including a homer in the 9–5 Game 1 loss, but the Dodgers again lost in six games. Under their new manager Walter Alston in 1954, Hodges set the team home run record with 42, hitting a career-high .304 and again leading the NL in putouts (1,381) and assists (132). He was second in the league to Ted Kluszewski in home runs and runs batted in (130), fifth in total bases (335), and sixth in slugging (.579) and runs (106), and placed tenth in the Most Valuable Player vote.
The Boys of Summer
In the 1955 season, Hodges' regular-season production declined to a .289 average, 27 home runs and 102 runs batted in. Facing the Yankees in the World Series for the fifth time, he was 1-for-12 in the first three games before coming around. In Game 4, Hodges hit a two-run homer in the fourth inning to put Brooklyn ahead, 4–3, and later had a single that drove in a run as they held off the Yankees, 8–5; he also scored the first run in the Dodgers' 5–3 win in Game 5. In Game 7, he drove in Campanella with two out in the fourth inning for a 1–0 lead and added a sacrifice fly to score Reese with one out in the sixth inning. Johnny Podres scattered eight New York hits, and when Reese threw Elston Howard's grounder to Hodges for the final out, Brooklyn had a 2–0 win and their first World Series title in franchise history and their only championship in Brooklyn.
In 1956, Hodges had 32 home runs and 87 runs batted in as Brooklyn won the pennant again, and once more met the Yankees in the World Series. In the third inning of Game 1, he hit a three-run homer to put Brooklyn ahead, 5–2, as they went on to a 6–3 win; he had three hits and four runs batted in during the 13–8 slugfest in Game 2, scoring to give the Dodgers a 7–6 lead in the third and doubling in two runs each in the fourth and fifth innings for an 11–7 lead. In Don Larsen's perfect game Hodges struck out, flied to center, and lined to third base, as Brooklyn went on to lose in seven games.
In 1957 Hodges set the NL record for career grand slams, breaking the mark of 12 shared by Rogers Hornsby and Ralph Kiner; his final total of 14 was tied by Hank Aaron and Willie McCovey in 1972, and broken by Aaron in 1974. He finished seventh in the NL with a .299 batting average and fifth with 98 runs batted in, and leading the league with 1,317 putouts. He was also among the NL's top ten players in home runs (27), hits (173), runs (94), triples (7), slugging (.511) and total bases (296); in late September, he drove in the last Dodgers run ever at Ebbets Field, and the last run in Brooklyn history. Hodges was named to his last All-Star team and placed seventh in the Most Valuable Player balloting, the highest position in his career.
After the Dodgers relocated to Los Angeles, on April 23, 1958, Hodges became the seventh player to hit 300 home runs in the NL, connecting off Dick Drott of the Chicago Cubs. That year he also tied a post-1900 record by leading the league in double plays (134) for the fourth time, equaling Frank McCormick and Ted Kluszewski; Donn Clendenon eventually broke the record in 1968. Hodges' totals were 22 home runs and 64 runs batted in as the Dodgers finished in seventh place in their first season in California. He also broke Dolph Camilli's NL record of 923 career strikeouts in 1958.
In 1959, the Dodgers captured another NL title, with Hodges contributing 25 home runs, 80 runs batted in, and a batting average of .276, coming in seventh in the league with a .513 slugging mark; he also led the NL with a .992 fielding average. He batted .391 in the 1959 World Series against the Chicago White Sox (his first against a team other than the Yankees), with his solo home run in the eighth inning of Game 4 giving the Dodgers a 5–4 win, as they triumphed in six games for another Series championship.
In 1960, Hodges broke Kiner's NL record for right-handed hitters of 351 career home runs, and appeared on the TV program Home Run Derby. In his last season with the Dodgers in 1961, he became the team's career runs batted in leader with 1,254, passing Zack Wheat; Snider moved ahead of him the following year. Hodges received the first three Rawlings Gold Glove Awards, from 1957 to 1959.
Return to New York
After being chosen in the 1961 MLB Expansion Draft, Hodges was one of the original 1962 Mets and despite knee problems was persuaded to continue his playing career in New York, hitting the first home run in franchise history. By the end of the year, in which he played only 54 games, he ranked tenth in MLB history with 370 home runs – second to only Jimmie Foxx among right-handed hitters. He also held the National League (NL) record for career home runs by a right-handed hitter from 1960 to 1963, and held the NL record for career grand slams from 1957 to 1974.
Managerial career
After 11 games with the Mets in 1963, during which he batted .227 with no homers and was plagued by injuries, he was traded to the Washington Senators in late May for outfielder Jimmy Piersall so that he could replace Mickey Vernon as Washington's manager. Hodges immediately announced his retirement from playing in order to focus on his new position. The Giants' Willie Mays had passed him weeks earlier on April 19 to become the NL's home run leader among right-handed hitters; Hodges' last game had been on May 5 in a doubleheader hosting the Giants (who had moved to San Francisco in 1958). Hodges managed the Senators through 1967, and although they improved in each season they never achieved a winning record.
In 1968 Hodges was brought back to New York to manage the perennially woeful Mets, and while the team only posted a 73–89 record it was nonetheless the best mark in their seven years of existence up to that point.
In the second game of doubleheader on July 30, 1969, the Houston Astros, after scoring 11 runs in the ninth inning of the first game, were in the midst of a 10-run third inning, hitting a number of line drives to left field. When the Mets' star left fielder Cleon Jones failed to hustle after a ball hit to the outfield, Hodges removed him from the game, but rather than simply signal from the dugout for Jones to come out, or delegate the job to one of his coaches, Hodges left the dugout and slowly, deliberately, walked all the way out to left field to remove Jones, and walked him back to the dugout, which was a resounding message to the whole team. Jones reportedly never again had to be reminded to hustle.
That year, Hodges led the "Miracle Mets" to the World Series championship, defeating the heavily favored Baltimore Orioles; after losing Game 1, the team came back for four straight victories, including two by 2–1 scores. Finishing higher than ninth place for the first time, the Mets became not only the first expansion team to win a World Series, but also the first team ever to win the Fall Classic after finishing at least 15 games under .500 the previous year. Hodges was named The Sporting News Manager of the Year, in skillfully platooning his players, utilizing everyone in the dugout, keeping everyone fresh. Hodges continued as manager through the 1971 season. He died before the opening of the 1972 season and was succeeded by Yogi Berra.
Death and impact
On the afternoon of April 2, 1972, Easter Sunday, Hodges was in West Palm Beach, Florida completing a round of golf with Mets coaches Joe Pignatano, Rube Walker, and Eddie Yost, when he collapsed en route to his motel room at the Ramada Inn across the street from Municipal Stadium, then the spring training facility of the Atlanta Braves and Montreal Expos. Hodges had suffered a sudden heart attack and was rushed to Good Samaritan Hospital where he died within 20 minutes of arrival. Pignatano later recalled Hodges falling backwards and hitting his head on the sidewalk with a "sickening knock", bleeding profusely and turning blue. Pignatano said "I put my hand under Gil's head, but before you knew it, the blood stopped. I knew he was dead. He died in my arms." A lifelong chain smoker, Hodges had suffered a minor heart attack in 1968, during a game in late September.
Jackie Robinson, himself ill with heart disease and diabetes, told the Associated Press, "He was the core of the Brooklyn Dodgers. With this, and what's happened to Campy (Roy Campanella) and lot of other guys we played with, it scares you. I've been somewhat shocked by it all. I have tremendous feelings for Gil's family and kids." Robinson died of a heart attack six months later on October 24 at age 53.
Duke Snider said "Gil was a great player, but an even greater man." "I'm sick," said Johnny Podres, "I've never known a finer man." A crushed Carl Erskine said "Gil's death is like a bolt out of the blue." Don Drysdale, who himself died in Montreal of a sudden heart attack in 1993 at age 56, wrote in his autobiography that Hodges' death "absolutely shattered me. I just flew apart. I didn't leave my apartment in Texas for three days. I didn't want to see anybody. I couldn't get myself to go to the funeral. It was like I'd lost a part of my family."
The wake was held at Torregrossa Funeral Home, on Flatbush Ave in Brooklyn. The funeral was held at Our Lady Help of Christians Church in Midwood, Brooklyn, on April 4, what would have been Hodges' 48th birthday. Approximately 10,000 mourners attended the service.
Television broadcaster Howard Cosell was one of the many attendees at the wake. According to Gil Hodges Jr., Cosell brought him into the back seat of a car, where Jackie Robinson had been crying hysterically. Robinson then held Hodges Jr. and said, "Next to my son's death, this is the worst day of my life."
Hodges was survived by his wife, the former Joan Lombardi (b. 1926 in Brooklyn), whom he had married on December 26, 1948, and their children Gil Jr. (b. 1950), Irene, Cynthia and Barbara. He is buried at Holy Cross Cemetery in East Flatbush, Brooklyn.
Yogi Berra succeeded him as manager, having been promoted on the day of the funeral. The American flag flew at half-staff on Opening Day at Shea Stadium, while the Mets wore black armbands on their left arms during the entire 1972 season in honor of Hodges. On June 9, 1973, the Mets again honored Hodges by retiring his uniform number 14.
Accomplishments
Hodges batted .273 in his career with a .487 slugging percentage, 1,921 hits, 1,274 runs batted in, 1,105 runs, 370 home runs, 295 doubles and 63 stolen bases in 2,071 games. His 361 home runs with the Dodgers remain second in team history to Snider's 389. His 1,614 career double plays placed him behind only Charlie Grimm (1733) in NL history, and were a major league record for a right-handed fielding first baseman until Chris Chambliss surpassed him in 1984. His 1,281 career assists ranked second in league history to Fred Tenney's 1,363, and trailed only Ed Konetchy's 1,292 among all right-handed first basemen. Snider broke his NL record of 1,137 career strikeouts in 1964. When he retired after the 1963 season, he had hit the most home runs (370) ever by a right-handed batter up to that point in time (surpassed by Willie Mays) and the most career grand slams (14) by a National League player (eclipsed by Willie McCovey). He shares the major league record of having hit four home runs in a single game (only 18 players have ever done so in MLB history).
Legacy
Hodges received New York City's highest civilian honor, the Bronze Medallion, in 1969. On April 4, 1978 (what would have been Hodges' 54th birthday), the Marine Parkway Bridge, connecting Marine Park, Brooklyn with Rockaway, Queens, was renamed the Marine Parkway–Gil Hodges Memorial Bridge in his memory. Other Brooklyn locations named for him are a park on Carroll Street, a Little League field on Shell Road in Brooklyn, a section of Avenue L and P.S. 193. In addition, part of Bedford Avenue in Midwood, Brooklyn, is named Gil Hodges Way. A bowling alley in Mill Basin, Brooklyn, was formerly named Gil Hodges Lanes in his honor.
In Indiana, the high school baseball stadium in his birthplace of Princeton and a bridge spanning the East Fork of the White River in northern Pike County on State Road 57 bear his name. In addition, a Petersburg Little League baseball team is named in his honor, the Hodges Dodgers. In 2009, a mural was dedicated in Petersburg featuring pictures of Hodges as a Brooklyn Dodger, as manager of the New York Mets, and batting at Ebbets Field.
Hodges became an inaugural member of the Indiana Baseball Hall of Fame in 1979. He was inducted into the New York Mets Hall of Fame in 1982. In 2007, Hodges was inducted into the Marine Corps Sports Hall of Fame. In 2021, he was inducted in the New York State Sports Hall of Fame.
In 2000, Hodges was featured in the documentary Gil Hodges: The Quiet Man, based on the book of the same name by author Marino Amoruso. In November 2021, a 30-minute documentary—The Gil Hodges Story: Soul Of A Champion—was released and features interviews with Vin Scully, Tommy Lasorda, Carl Erskine, Gil Hodges Jr., and members of the 1969 New York Mets.
Hall of Fame consideration
Background
For decades, there was controversy over Hodges not being selected for induction to the Baseball Hall of Fame. He was considered to be one of the finest players of the 1950s, and graduated to managerial success with the Mets. However, critics of his candidacy pointed out that despite his offensive prowess, he never led the National League in any offensive category such as home runs, runs batted in, or slugging percentage, and never came close to winning a Most Valuable Player award. Additionally, until the election of Tony Pérez in 2000, every first baseman in the Hall had either 500 career home runs or a batting average over .295; at the time of Hodges' death, the BBWAA had only elected two position players (Rabbit Maranville and Roy Campanella) with batting averages below .285. Hodges' not having been voted an MVP may have resulted in part from his having had some of his best seasons (1950, 1954 and 1957) in years when the Dodgers did not win the pennant.
BBWAA candidate
After last playing in the major leagues during the 1963 season, Hodges first appeared on the 1969 ballot, receiving 24.1% of ballots cast by BBWAA electors, with 75% the threshold for election. He was considered annually through the 1983 ballot, his 15th and final ballot appearance under BBWAA rules at the time. He appeared on 63.4% of ballots in 1983 voting, the highest percentage of his candidacy. Hodges collected 3,010 votes cast by the BBWAA from 1969 to 1983, the most votes for an unselected player until surpassed by Jim Rice in 2008, prior to Rice's election the following year.
Veterans Committee candidate
Hodges was considered for selection by the Hall of Fame's Veterans Committee starting in 1987. Voting by the committee was held in closed sessions for many years, but results are known for Hodges in voting (61%), (65%), (61%), and (43.8%). Each time, Hodges fell short of the 75% minimum required for election.
Golden Era / Golden Days candidate
In 2011, Hodges became a Golden Era candidate (1947–1972 era) for consideration to be elected to the Hall of Fame by the Golden Era Committee, which replaced the Veterans Committee in 2010. In December 2011, voting by the committee took place during the Hall of Fame's two-day winter meeting in Dallas, Texas. Induction to the Hall requires at least 12 votes (75%) from the 16-member committee. Of 10 candidates, Ron Santo was the only one elected, having received 15 votes; Jim Kaat had 10 votes, and Hodges and Minnie Miñoso were tied with nine votes.
Hodges' next opportunity under the Golden Era Committee was in December 2014, when the committee voted at the MLB winter meeting. Hodges received only three votes, and none of the other eight player candidates on the ballot were elected to the Hall of Fame, including Dick Allen and Tony Oliva, who each fell one vote shy of the 12-vote threshold. In July 2016, the Golden Era committee was succeeded by the Golden Days committee (1950–1969 era).
Hodges was one of 10 nominees named on November 5, 2021 to the Golden Days Era ballot for Hall of Fame consideration. On December 5, the Hall of Fame announced Hodges' election, having received 12 of 16 votes to meet the 75% threshold.
See also
List of lifetime home run leaders through history
List of Major League Baseball career home run leaders
List of Gold Glove Award winners at first base
Lou Gehrig Memorial Award
List of Major League Baseball retired numbers
List of Major League Baseball career runs scored leaders
List of Major League Baseball career runs batted in leaders
List of Major League Baseball players to hit for the cycle
List of Major League Baseball single-game home run leaders
References
Further reading
Books
Articles
External links
Gil Hodges at the Baseball Hall of Fame
1924 births
1972 deaths
Major League Baseball first basemen
Brooklyn Dodgers players
Los Angeles Dodgers players
New York Mets players
National League All-Stars
Gold Glove Award winners
Major League Baseball players with retired numbers
Baseball players from Indiana
Newport News Dodgers players
New York Mets managers
Washington Senators (1961–1971) managers
Hod
Major League Baseball managers with retired numbers
United States Marine Corps personnel of World War II
Saint Joseph's Pumas baseball players
Saint Joseph's Pumas football players
Saint Joseph's Pumas men's basketball players
Sportspeople from Brooklyn
People from Princeton, Indiana
Burials at Holy Cross Cemetery, Brooklyn
People from Petersburg, Indiana
People from Midwood, Brooklyn
United States Marines
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"Victor Jacobus Hermans (born 17 March 1953 in Maastricht) is a Dutch futsal coach who has managed 6 different national teams and guided 3 teams to the world cup, Victor Hermans had only two unsuccessful campaign with national teams for the world cup.\n\nCareer\nHermans started his career by playing outdoor football for his hometown when he was a teenager. He later moved to Belgium to play for Tongres. After he left Belgium, he moved back into his own country to play for Caesar Beek. He represented his country 50 times and participated in four international tournaments, including the 1989 FIFA Futsal World Championship where his team was runner-up, losing at the final to Brazil.\n\nIn 1989, he decided to retire once the world cup had finished in 1990, he joined the Oranje as an assistant coach for two years. After Hermans thought that he was fit to take charge of a team, he was appointed as the Hong Kong manager. He managed Hong Kong in their first world cup as a host nation. Although Hong Kong was a small country but that did not stop them dreaming, thinking they were going to defeat Nigeria and Poland there were many expectations for him to take the team to the next level but they eventually lost in the group stage. \nHe later went to manage Malaysia for one year. He left the team after they lost all of their matches in the 1996 World Cup.\n\nAfter leaving Malaysia he went back to be assistant coach of the Oranje once again, and he did so for three years. He then left and became the head coach of Iran for one year, he managed the team and made Iran with a 100 percent win with the team for seven matches, he made them champions of Asia in 2001 Asian Championship, he then resigned as the manager to manage his native national team. He managed the team for six years, despite the fact he failed to take Netherlands to any world cup but he did take them in to the European championship and one Grand Prix tournament in Brazil after having disappointing results in both tournaments he was sacked as the head coach position in 2007. He later joined Malta as the head coach for two years, but he did not even manage 10 games as the managers, which was a big problem for Hermans and after having to manage getting only 3 points he left the Malta.\n\nHermans in 2020 reportedly agreed to become the Philippine Football Federation's technical consultant for futsal, helping create a groundwork for the Philippine futsal program including the grassroots level.\n\nAchievements\n\nManager\n Iran\nAFC Futsal Championship: 2001\n\n Thailand\nAFC Futsal Championship: Runner-up 2012, third place 2016.\nAsian Indoor and Martial Arts Games: Bronze medal 2013.\nAFF Futsal Championship: 2012, 2013, 2014, 2015.\nSEA Games: Gold medal 2013.\n\nReferences\n\n1953 births\nLiving people\nDutch footballers\nDutch men's futsal players\nMVV Maastricht players\nIran national futsal team managers\nFutsal coaches\nThailand national futsal team managers\nAssociation footballers not categorized by position\nDutch football managers\nFootballers from Maastricht",
"The 1968 Mississippi State Bulldogs football team represented Mississippi State University during the 1968 NCAA University Division football season. The Bulldogs finished winless on the year, although they did manage to tie two teams that finished with winning records, including archrival Ole Miss, led by star quarterback Archie Manning.\n\nSchedule\n\nReferences\n\nMississippi State\nMississippi State Bulldogs football seasons\nMississippi State Bulldogs football"
] |
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"Gil Hodges",
"Managerial career",
"When did he start his managerial career?",
"After 11 games with the Mets in 1963, during which he batted .227 with no homers and was plagued by injuries,",
"Which teams did he manage?",
"Hodges managed the Senators through 1967, and although they improved in each season they never achieved a winning record."
] |
C_3e1a8ac1e68e4c7e974b88078021f226_1
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What successes did he have a manager/
| 3 |
What successes did Gil Hodges have a manager?
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Gil Hodges
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After 11 games with the Mets in 1963, during which he batted .227 with no homers and was plagued by injuries, he was traded to the Washington Senators in late May for outfielder Jimmy Piersall so that he could replace Mickey Vernon as Washington's manager. Hodges immediately announced his retirement from playing in order to clearly focus on his new position. The Giants' Willie Mays had passed him weeks earlier on April 19 to become the NL's home run leader among right-handed hitters; Hodges' last game had been on May 5 in a doubleheader hosting the Giants (who had moved to San Francisco in 1958). Hodges managed the Senators through 1967, and although they improved in each season they never achieved a winning record. One of the most notable incidents in his career occurred in the summer of 1965, when pitcher Ryne Duren - reaching the end of his career and sinking into alcoholism - walked onto a bridge with intentions of suicide; his manager talked him away from the edge. In 1968 Hodges was brought back to New York to manage the perennially woeful Mets, and while the team only posted a 73-89 record it was nonetheless the best mark in their seven years of existence up to that point. In 1969, he led the "Miracle Mets" to the World Series championship, defeating the heavily favored Baltimore Orioles; after losing Game 1, they came back for four straight victories, including two by 2-1 scores. Finishing higher than ninth place for the first time, the Mets became not only the first expansion team to win a World Series, but also the first team ever to win the Fall Classic after finishing at least 15 games under .500 the previous year. Hodges was named The Sporting News' Manager of the Year, in skillfully platooning his players, utilizing everyone in the dugout, keeping everyone fresh. Hodges continued as manager through the 1971 season. He died before the opening of the 1972 season and was succeeded by Yogi Berra. In the second game of doubleheader on July 30, 1969, the Houston Astros, after scoring 11 runs in the ninth inning of the first game, were in the midst of a 10-run third inning, hitting a number of line drives to left field. When the Mets' star left fielder Cleon Jones failed to hustle after a ball hit to the outfield, Hodges removed him from the game, but rather than simply signal from the dugout for Jones to come out, or delegate the job to one of his coaches, Hodges left the dugout and slowly, deliberately, walked all the way out to left field to remove Jones, and walked him back to the dugout, which was a resounding message to the whole team. Jones reportedly never again had to be reminded to hustle. Ralph Kiner retold that story dozens of times during Mets broadcasts, both as a tribute to Hodges, and as an illustration of his quiet but disciplined character. CANNOTANSWER
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In 1968 Hodges was brought back to New York to manage the perennially woeful Mets, and while the team only posted a 73-89 record
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Gilbert Ray Hodges (né Hodge; April 4, 1924 – April 2, 1972) was an American first baseman and manager in Major League Baseball (MLB) who played most of his 18-year career for the Brooklyn / Los Angeles Dodgers.
Hodges was widely regarded as the major leagues' outstanding first baseman in the 1950s, with teammate Duke Snider being the only player to have more home runs or runs batted in during the decade. He held the National League (NL) record for career home runs by a right-handed hitter from 1960 to 1963, with his final total of 370 briefly ranking tenth in major league history; he held the NL record for career grand slams from 1957 to 1974. An eight-time All-Star, he anchored the infield on six pennant winners, and remains one of the most beloved and admired players in team history. A sterling defensive player, he won the first three Gold Glove Awards and led the NL in double plays four times and in putouts, assists and fielding percentage three times each. He ranked second in NL history with 1,281 assists and 1,614 double plays when his career ended, and was among the league's career leaders in games (6th, 1,908) and total chances (10th, 16,751) at first base. He managed the New York Mets to the 1969 World Series title, one of the greatest upsets in sports history, before his death from a sudden heart attack at age 47. He was inducted into the New York Mets Hall of Fame in 1982, and was elected to the Baseball Hall of Fame in December 2021 for induction in .
Early years
Hodges was born in Princeton, Indiana, the son of coal miner Charles and his wife Irene, (nee Horstmeyer). He had an older brother, Robert, and a younger sister, Marjorie. The family moved to nearby Petersburg when Hodges was seven. He was a star four-sport athlete at Petersburg High School, earning a combined seven varsity letters in football, baseball, basketball and track. Hodges declined a contract offer from the Detroit Tigers, instead attending Saint Joseph's College with the hope of eventually becoming a collegiate coach. Hodges spent two years (1941–1942 and 1942–1943) at St Joseph's, competing in baseball, basketball and briefly in football.
He was signed by his agent, Gabriel Levi, of the Brooklyn Dodgers in 1943, and appeared in one game for the team as a third baseman that year. Hodges entered the United States Marine Corps during World War II after having participated in its Reserve Officers' Training Corps program at Saint Joseph's. He served in combat as an anti-aircraft gunner in the 16th Anti-Aircraft Artillery Battalion, participating in the battles of Tinian and Okinawa, and received a Bronze Star Medal with Combat "V" for heroism under fire.
Following the war, Hodges also spent time completing course work at Oakland City University, near his hometown, playing basketball for the Mighty Oaks, joining the 1947–48 team after four games (1–3 record); they finished at 9–10. One of his teammates, Bob Lochmueller, would go on to star at the University of Louisville and play in the NBA.
Brooklyn/Los Angeles Dodgers
Hodges was discharged from the Marine Corps in 1946, and returned to the Dodgers organization as a catcher with the Newport News Dodgers of the Piedmont League, batting .278 in 129 games as they won the league championship; his teammates included first baseman and future film and television star Chuck Connors.
Hodges was called up to Brooklyn in 1947, the same year that Jackie Robinson broke baseball's color barrier. He played as a catcher, joining the team's nucleus of Robinson, Pee Wee Reese and Carl Furillo. With the emergence of Roy Campanella behind the plate, manager Leo Durocher shifted Hodges to first base. Hodges' only appearance in the 1947 World Series against the New York Yankees was as a pinch hitter for pitcher Rex Barney in Game Seven, but he struck out. As a rookie in , he batted .249 with 11 home runs and 70 runs batted in.
On June 25, , Hodges hit for the cycle on his way to his first of seven consecutive All-Star teams. For the season, his 115 runs batted in ranked fourth in the NL, and he tied Hack Wilson's club record for right-handed hitters with 23 home runs. Defensively, he led the NL in putouts (1,336), double plays (142) and fielding average (.995). Facing the Yankees again in the Series, he batted only .235 but drove in the sole run in Brooklyn's only victory, a 1–0 triumph in Game
Two. In game five, he hit a two out, three-run homer in the seventh to pull the Dodgers within 10–6, but struck out to end the game and the Series.
On August 31, against the Boston Braves, Hodges joined Lou Gehrig as only the second player since 1900 to hit four home runs in a game without the benefit of extra innings; he hit them against four different pitchers, with the first coming off Warren Spahn. He also had seventeen total bases in the game, tied for third in MLB history.
That year he also led the league in fielding (.994) and set an NL record with 159 double plays, breaking Frank McCormick's mark of 153 with the Cincinnati Reds; he broke his own record in 1951 with 171, a record which stood until Donn Clendenon had 182 for the 1966 Pittsburgh Pirates. He finished 1950 third in the league in both homers (32) and runs batted in (113), and came in eighth in the Most Valuable Player voting. In 1951 he became the first member of the Dodgers to ever hit 40 home runs, breaking Babe Herman's 1930 mark of 35; Campanella hit 41 in 1953, but Hodges recaptured the record with 42 in 1954 before Snider eclipsed him again with 43 in 1956. His last home run of 1951 came on October 2 against the New York Giants, as the Dodgers tied the three-game NL playoff series at a game each with a 10–0 win; New York won the pennant the next day on Bobby Thomson's "Shot Heard 'Round the World". Hodges also led the NL with 126 assists in 1951, and was second in home runs, third in runs (118) and total bases (307), fifth in slugging percentage (.527), and sixth in runs batted in (103).
Hodges was an eight-time All-Star, from 1949 to 1955 and in 1957. With his last home run of 1952, he tied Dolph Camilli's Dodger career record of 139, surpassing him in 1953; Snider moved ahead of Hodges in 1956. He again led the NL with 116 assists in the 1952 campaign and was third in the league in home runs (32) and fourth in runs batted in (102) and slugging (.500).
A great fan favorite in Brooklyn, Hodges was perhaps the only Dodgers regular never booed at their home park Ebbets Field. Fans were supportive even when Hodges suffered through one of the most famous slumps in baseball history: after going hitless in his last four regular-season games of 1952, he also went hitless in all seven games of the 1952 World Series against the Yankees (finishing the Series 0-for-21 at the plate), with Brooklyn losing to the Yankees in the seven games. When Hodges' slump continued into the following spring, fans reacted with countless letters and good-luck gifts, and one Brooklyn priest – Father Herbert Redmond of St. Francis Roman Catholic Church – told his flock: "It's far too hot for a homily. Keep the Commandments and say a prayer for Gil Hodges." Hodges began hitting again soon afterward, and rarely struggled again in the World Series. Teammate Carl Erskine, who described himself as a good Baptist, kidded him by saying, "Gil, you just about made a believer out of me."
Hodges was involved in a blown call in the 1952 World Series. Johnny Sain was batting for the Yankees in the 10th inning of Game 5 and grounded out, as ruled by first base umpire Art Passarella. The photograph of the play, however, shows Sain stepping on first base while Hodges, also with a foot on the bag, is reaching for the ball that is about a foot shy of entering his glove. Baseball commissioner Ford Frick, an ex-newspaperman himself, refused to defend Passarella.
Hodges ended 1953 with a .302 batting average, finishing fifth in the NL in runs batted in (122) and sixth in home runs (31). Against the Yankees in the 1953 Series, Hodges hit .364; he had three hits, including a homer in the 9–5 Game 1 loss, but the Dodgers again lost in six games. Under their new manager Walter Alston in 1954, Hodges set the team home run record with 42, hitting a career-high .304 and again leading the NL in putouts (1,381) and assists (132). He was second in the league to Ted Kluszewski in home runs and runs batted in (130), fifth in total bases (335), and sixth in slugging (.579) and runs (106), and placed tenth in the Most Valuable Player vote.
The Boys of Summer
In the 1955 season, Hodges' regular-season production declined to a .289 average, 27 home runs and 102 runs batted in. Facing the Yankees in the World Series for the fifth time, he was 1-for-12 in the first three games before coming around. In Game 4, Hodges hit a two-run homer in the fourth inning to put Brooklyn ahead, 4–3, and later had a single that drove in a run as they held off the Yankees, 8–5; he also scored the first run in the Dodgers' 5–3 win in Game 5. In Game 7, he drove in Campanella with two out in the fourth inning for a 1–0 lead and added a sacrifice fly to score Reese with one out in the sixth inning. Johnny Podres scattered eight New York hits, and when Reese threw Elston Howard's grounder to Hodges for the final out, Brooklyn had a 2–0 win and their first World Series title in franchise history and their only championship in Brooklyn.
In 1956, Hodges had 32 home runs and 87 runs batted in as Brooklyn won the pennant again, and once more met the Yankees in the World Series. In the third inning of Game 1, he hit a three-run homer to put Brooklyn ahead, 5–2, as they went on to a 6–3 win; he had three hits and four runs batted in during the 13–8 slugfest in Game 2, scoring to give the Dodgers a 7–6 lead in the third and doubling in two runs each in the fourth and fifth innings for an 11–7 lead. In Don Larsen's perfect game Hodges struck out, flied to center, and lined to third base, as Brooklyn went on to lose in seven games.
In 1957 Hodges set the NL record for career grand slams, breaking the mark of 12 shared by Rogers Hornsby and Ralph Kiner; his final total of 14 was tied by Hank Aaron and Willie McCovey in 1972, and broken by Aaron in 1974. He finished seventh in the NL with a .299 batting average and fifth with 98 runs batted in, and leading the league with 1,317 putouts. He was also among the NL's top ten players in home runs (27), hits (173), runs (94), triples (7), slugging (.511) and total bases (296); in late September, he drove in the last Dodgers run ever at Ebbets Field, and the last run in Brooklyn history. Hodges was named to his last All-Star team and placed seventh in the Most Valuable Player balloting, the highest position in his career.
After the Dodgers relocated to Los Angeles, on April 23, 1958, Hodges became the seventh player to hit 300 home runs in the NL, connecting off Dick Drott of the Chicago Cubs. That year he also tied a post-1900 record by leading the league in double plays (134) for the fourth time, equaling Frank McCormick and Ted Kluszewski; Donn Clendenon eventually broke the record in 1968. Hodges' totals were 22 home runs and 64 runs batted in as the Dodgers finished in seventh place in their first season in California. He also broke Dolph Camilli's NL record of 923 career strikeouts in 1958.
In 1959, the Dodgers captured another NL title, with Hodges contributing 25 home runs, 80 runs batted in, and a batting average of .276, coming in seventh in the league with a .513 slugging mark; he also led the NL with a .992 fielding average. He batted .391 in the 1959 World Series against the Chicago White Sox (his first against a team other than the Yankees), with his solo home run in the eighth inning of Game 4 giving the Dodgers a 5–4 win, as they triumphed in six games for another Series championship.
In 1960, Hodges broke Kiner's NL record for right-handed hitters of 351 career home runs, and appeared on the TV program Home Run Derby. In his last season with the Dodgers in 1961, he became the team's career runs batted in leader with 1,254, passing Zack Wheat; Snider moved ahead of him the following year. Hodges received the first three Rawlings Gold Glove Awards, from 1957 to 1959.
Return to New York
After being chosen in the 1961 MLB Expansion Draft, Hodges was one of the original 1962 Mets and despite knee problems was persuaded to continue his playing career in New York, hitting the first home run in franchise history. By the end of the year, in which he played only 54 games, he ranked tenth in MLB history with 370 home runs – second to only Jimmie Foxx among right-handed hitters. He also held the National League (NL) record for career home runs by a right-handed hitter from 1960 to 1963, and held the NL record for career grand slams from 1957 to 1974.
Managerial career
After 11 games with the Mets in 1963, during which he batted .227 with no homers and was plagued by injuries, he was traded to the Washington Senators in late May for outfielder Jimmy Piersall so that he could replace Mickey Vernon as Washington's manager. Hodges immediately announced his retirement from playing in order to focus on his new position. The Giants' Willie Mays had passed him weeks earlier on April 19 to become the NL's home run leader among right-handed hitters; Hodges' last game had been on May 5 in a doubleheader hosting the Giants (who had moved to San Francisco in 1958). Hodges managed the Senators through 1967, and although they improved in each season they never achieved a winning record.
In 1968 Hodges was brought back to New York to manage the perennially woeful Mets, and while the team only posted a 73–89 record it was nonetheless the best mark in their seven years of existence up to that point.
In the second game of doubleheader on July 30, 1969, the Houston Astros, after scoring 11 runs in the ninth inning of the first game, were in the midst of a 10-run third inning, hitting a number of line drives to left field. When the Mets' star left fielder Cleon Jones failed to hustle after a ball hit to the outfield, Hodges removed him from the game, but rather than simply signal from the dugout for Jones to come out, or delegate the job to one of his coaches, Hodges left the dugout and slowly, deliberately, walked all the way out to left field to remove Jones, and walked him back to the dugout, which was a resounding message to the whole team. Jones reportedly never again had to be reminded to hustle.
That year, Hodges led the "Miracle Mets" to the World Series championship, defeating the heavily favored Baltimore Orioles; after losing Game 1, the team came back for four straight victories, including two by 2–1 scores. Finishing higher than ninth place for the first time, the Mets became not only the first expansion team to win a World Series, but also the first team ever to win the Fall Classic after finishing at least 15 games under .500 the previous year. Hodges was named The Sporting News Manager of the Year, in skillfully platooning his players, utilizing everyone in the dugout, keeping everyone fresh. Hodges continued as manager through the 1971 season. He died before the opening of the 1972 season and was succeeded by Yogi Berra.
Death and impact
On the afternoon of April 2, 1972, Easter Sunday, Hodges was in West Palm Beach, Florida completing a round of golf with Mets coaches Joe Pignatano, Rube Walker, and Eddie Yost, when he collapsed en route to his motel room at the Ramada Inn across the street from Municipal Stadium, then the spring training facility of the Atlanta Braves and Montreal Expos. Hodges had suffered a sudden heart attack and was rushed to Good Samaritan Hospital where he died within 20 minutes of arrival. Pignatano later recalled Hodges falling backwards and hitting his head on the sidewalk with a "sickening knock", bleeding profusely and turning blue. Pignatano said "I put my hand under Gil's head, but before you knew it, the blood stopped. I knew he was dead. He died in my arms." A lifelong chain smoker, Hodges had suffered a minor heart attack in 1968, during a game in late September.
Jackie Robinson, himself ill with heart disease and diabetes, told the Associated Press, "He was the core of the Brooklyn Dodgers. With this, and what's happened to Campy (Roy Campanella) and lot of other guys we played with, it scares you. I've been somewhat shocked by it all. I have tremendous feelings for Gil's family and kids." Robinson died of a heart attack six months later on October 24 at age 53.
Duke Snider said "Gil was a great player, but an even greater man." "I'm sick," said Johnny Podres, "I've never known a finer man." A crushed Carl Erskine said "Gil's death is like a bolt out of the blue." Don Drysdale, who himself died in Montreal of a sudden heart attack in 1993 at age 56, wrote in his autobiography that Hodges' death "absolutely shattered me. I just flew apart. I didn't leave my apartment in Texas for three days. I didn't want to see anybody. I couldn't get myself to go to the funeral. It was like I'd lost a part of my family."
The wake was held at Torregrossa Funeral Home, on Flatbush Ave in Brooklyn. The funeral was held at Our Lady Help of Christians Church in Midwood, Brooklyn, on April 4, what would have been Hodges' 48th birthday. Approximately 10,000 mourners attended the service.
Television broadcaster Howard Cosell was one of the many attendees at the wake. According to Gil Hodges Jr., Cosell brought him into the back seat of a car, where Jackie Robinson had been crying hysterically. Robinson then held Hodges Jr. and said, "Next to my son's death, this is the worst day of my life."
Hodges was survived by his wife, the former Joan Lombardi (b. 1926 in Brooklyn), whom he had married on December 26, 1948, and their children Gil Jr. (b. 1950), Irene, Cynthia and Barbara. He is buried at Holy Cross Cemetery in East Flatbush, Brooklyn.
Yogi Berra succeeded him as manager, having been promoted on the day of the funeral. The American flag flew at half-staff on Opening Day at Shea Stadium, while the Mets wore black armbands on their left arms during the entire 1972 season in honor of Hodges. On June 9, 1973, the Mets again honored Hodges by retiring his uniform number 14.
Accomplishments
Hodges batted .273 in his career with a .487 slugging percentage, 1,921 hits, 1,274 runs batted in, 1,105 runs, 370 home runs, 295 doubles and 63 stolen bases in 2,071 games. His 361 home runs with the Dodgers remain second in team history to Snider's 389. His 1,614 career double plays placed him behind only Charlie Grimm (1733) in NL history, and were a major league record for a right-handed fielding first baseman until Chris Chambliss surpassed him in 1984. His 1,281 career assists ranked second in league history to Fred Tenney's 1,363, and trailed only Ed Konetchy's 1,292 among all right-handed first basemen. Snider broke his NL record of 1,137 career strikeouts in 1964. When he retired after the 1963 season, he had hit the most home runs (370) ever by a right-handed batter up to that point in time (surpassed by Willie Mays) and the most career grand slams (14) by a National League player (eclipsed by Willie McCovey). He shares the major league record of having hit four home runs in a single game (only 18 players have ever done so in MLB history).
Legacy
Hodges received New York City's highest civilian honor, the Bronze Medallion, in 1969. On April 4, 1978 (what would have been Hodges' 54th birthday), the Marine Parkway Bridge, connecting Marine Park, Brooklyn with Rockaway, Queens, was renamed the Marine Parkway–Gil Hodges Memorial Bridge in his memory. Other Brooklyn locations named for him are a park on Carroll Street, a Little League field on Shell Road in Brooklyn, a section of Avenue L and P.S. 193. In addition, part of Bedford Avenue in Midwood, Brooklyn, is named Gil Hodges Way. A bowling alley in Mill Basin, Brooklyn, was formerly named Gil Hodges Lanes in his honor.
In Indiana, the high school baseball stadium in his birthplace of Princeton and a bridge spanning the East Fork of the White River in northern Pike County on State Road 57 bear his name. In addition, a Petersburg Little League baseball team is named in his honor, the Hodges Dodgers. In 2009, a mural was dedicated in Petersburg featuring pictures of Hodges as a Brooklyn Dodger, as manager of the New York Mets, and batting at Ebbets Field.
Hodges became an inaugural member of the Indiana Baseball Hall of Fame in 1979. He was inducted into the New York Mets Hall of Fame in 1982. In 2007, Hodges was inducted into the Marine Corps Sports Hall of Fame. In 2021, he was inducted in the New York State Sports Hall of Fame.
In 2000, Hodges was featured in the documentary Gil Hodges: The Quiet Man, based on the book of the same name by author Marino Amoruso. In November 2021, a 30-minute documentary—The Gil Hodges Story: Soul Of A Champion—was released and features interviews with Vin Scully, Tommy Lasorda, Carl Erskine, Gil Hodges Jr., and members of the 1969 New York Mets.
Hall of Fame consideration
Background
For decades, there was controversy over Hodges not being selected for induction to the Baseball Hall of Fame. He was considered to be one of the finest players of the 1950s, and graduated to managerial success with the Mets. However, critics of his candidacy pointed out that despite his offensive prowess, he never led the National League in any offensive category such as home runs, runs batted in, or slugging percentage, and never came close to winning a Most Valuable Player award. Additionally, until the election of Tony Pérez in 2000, every first baseman in the Hall had either 500 career home runs or a batting average over .295; at the time of Hodges' death, the BBWAA had only elected two position players (Rabbit Maranville and Roy Campanella) with batting averages below .285. Hodges' not having been voted an MVP may have resulted in part from his having had some of his best seasons (1950, 1954 and 1957) in years when the Dodgers did not win the pennant.
BBWAA candidate
After last playing in the major leagues during the 1963 season, Hodges first appeared on the 1969 ballot, receiving 24.1% of ballots cast by BBWAA electors, with 75% the threshold for election. He was considered annually through the 1983 ballot, his 15th and final ballot appearance under BBWAA rules at the time. He appeared on 63.4% of ballots in 1983 voting, the highest percentage of his candidacy. Hodges collected 3,010 votes cast by the BBWAA from 1969 to 1983, the most votes for an unselected player until surpassed by Jim Rice in 2008, prior to Rice's election the following year.
Veterans Committee candidate
Hodges was considered for selection by the Hall of Fame's Veterans Committee starting in 1987. Voting by the committee was held in closed sessions for many years, but results are known for Hodges in voting (61%), (65%), (61%), and (43.8%). Each time, Hodges fell short of the 75% minimum required for election.
Golden Era / Golden Days candidate
In 2011, Hodges became a Golden Era candidate (1947–1972 era) for consideration to be elected to the Hall of Fame by the Golden Era Committee, which replaced the Veterans Committee in 2010. In December 2011, voting by the committee took place during the Hall of Fame's two-day winter meeting in Dallas, Texas. Induction to the Hall requires at least 12 votes (75%) from the 16-member committee. Of 10 candidates, Ron Santo was the only one elected, having received 15 votes; Jim Kaat had 10 votes, and Hodges and Minnie Miñoso were tied with nine votes.
Hodges' next opportunity under the Golden Era Committee was in December 2014, when the committee voted at the MLB winter meeting. Hodges received only three votes, and none of the other eight player candidates on the ballot were elected to the Hall of Fame, including Dick Allen and Tony Oliva, who each fell one vote shy of the 12-vote threshold. In July 2016, the Golden Era committee was succeeded by the Golden Days committee (1950–1969 era).
Hodges was one of 10 nominees named on November 5, 2021 to the Golden Days Era ballot for Hall of Fame consideration. On December 5, the Hall of Fame announced Hodges' election, having received 12 of 16 votes to meet the 75% threshold.
See also
List of lifetime home run leaders through history
List of Major League Baseball career home run leaders
List of Gold Glove Award winners at first base
Lou Gehrig Memorial Award
List of Major League Baseball retired numbers
List of Major League Baseball career runs scored leaders
List of Major League Baseball career runs batted in leaders
List of Major League Baseball players to hit for the cycle
List of Major League Baseball single-game home run leaders
References
Further reading
Books
Articles
External links
Gil Hodges at the Baseball Hall of Fame
1924 births
1972 deaths
Major League Baseball first basemen
Brooklyn Dodgers players
Los Angeles Dodgers players
New York Mets players
National League All-Stars
Gold Glove Award winners
Major League Baseball players with retired numbers
Baseball players from Indiana
Newport News Dodgers players
New York Mets managers
Washington Senators (1961–1971) managers
Hod
Major League Baseball managers with retired numbers
United States Marine Corps personnel of World War II
Saint Joseph's Pumas baseball players
Saint Joseph's Pumas football players
Saint Joseph's Pumas men's basketball players
Sportspeople from Brooklyn
People from Princeton, Indiana
Burials at Holy Cross Cemetery, Brooklyn
People from Petersburg, Indiana
People from Midwood, Brooklyn
United States Marines
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"P. J. O'Mullan (born 1974) is an Irish hurling manager and former player.\n\nBorn in Loughguile, County Antrim, O'Mullan was introduced to hurling by his father, a long-serving selector and administrator with the local club team. He became involved at underage levels with the Loughgiel Shamrocks club. O'Mullan's senior club career coincided with a lean period for Loughgiel Shamrocks.\n\nAfter being involved in team management and coaching in all grades at club level with Loughgiel Shamrocks, O'Mullan enjoyed his greatest successes at senior level. A one-time All-Ireland-winning manager, he also won four Ulster titles and four championship titles. O'Mullan enjoyed a brief but unsuccessful tenure as manager of the Antrim senior team.\n\nReferences\n\n1974 births\nLiving people\nHurling managers\nLoughgiel Shamrocks hurlers\nHurling selectors",
"Diarmuid Cody (born 1994) is an Irish hurler who currently plays as a wing back or midfielder for the Kilkenny senior team.\n\nBorn in Kilkenny, Cody was introduced to hurling by his father, Brian, the long-serving manager of the Kilkenny senior team. He enjoyed All-Ireland successes at colleges level with St. Kieran's College while simultaneously enjoying championship successes at underage levels with the James Stephens club.\n\nCody made his debut on the inter-county scene at the age of sixteen when he first linked up with the Kilkenny minor team before later joining the under-21 side. He was added to the senior panel during the 2015 championship.\n\nHonours\n\nTeam\n\nSt. Kieran's College\nAll-Ireland Colleges Senior Hurling Championship (1): 2011\nLeinster Colleges Senior Hurling Championship (4): 2011,2014,2015,2016\n\nJames Stephens \nKilkenny Minor Hurling Championship (1): 2011\nKilkenny senior championship 2011\n\nReferences\n\n1994 births\nLiving people\nJames Stephens hurlers\nKilkenny inter-county hurlers"
] |
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"After 11 games with the Mets in 1963, during which he batted .227 with no homers and was plagued by injuries,",
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"Hodges managed the Senators through 1967, and although they improved in each season they never achieved a winning record.",
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"In 1968 Hodges was brought back to New York to manage the perennially woeful Mets, and while the team only posted a 73-89 record"
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C_3e1a8ac1e68e4c7e974b88078021f226_1
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What other successes was Hodges involved in?
| 4 |
Beside his MLB career what other successes was Hodges involved in?
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Gil Hodges
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After 11 games with the Mets in 1963, during which he batted .227 with no homers and was plagued by injuries, he was traded to the Washington Senators in late May for outfielder Jimmy Piersall so that he could replace Mickey Vernon as Washington's manager. Hodges immediately announced his retirement from playing in order to clearly focus on his new position. The Giants' Willie Mays had passed him weeks earlier on April 19 to become the NL's home run leader among right-handed hitters; Hodges' last game had been on May 5 in a doubleheader hosting the Giants (who had moved to San Francisco in 1958). Hodges managed the Senators through 1967, and although they improved in each season they never achieved a winning record. One of the most notable incidents in his career occurred in the summer of 1965, when pitcher Ryne Duren - reaching the end of his career and sinking into alcoholism - walked onto a bridge with intentions of suicide; his manager talked him away from the edge. In 1968 Hodges was brought back to New York to manage the perennially woeful Mets, and while the team only posted a 73-89 record it was nonetheless the best mark in their seven years of existence up to that point. In 1969, he led the "Miracle Mets" to the World Series championship, defeating the heavily favored Baltimore Orioles; after losing Game 1, they came back for four straight victories, including two by 2-1 scores. Finishing higher than ninth place for the first time, the Mets became not only the first expansion team to win a World Series, but also the first team ever to win the Fall Classic after finishing at least 15 games under .500 the previous year. Hodges was named The Sporting News' Manager of the Year, in skillfully platooning his players, utilizing everyone in the dugout, keeping everyone fresh. Hodges continued as manager through the 1971 season. He died before the opening of the 1972 season and was succeeded by Yogi Berra. In the second game of doubleheader on July 30, 1969, the Houston Astros, after scoring 11 runs in the ninth inning of the first game, were in the midst of a 10-run third inning, hitting a number of line drives to left field. When the Mets' star left fielder Cleon Jones failed to hustle after a ball hit to the outfield, Hodges removed him from the game, but rather than simply signal from the dugout for Jones to come out, or delegate the job to one of his coaches, Hodges left the dugout and slowly, deliberately, walked all the way out to left field to remove Jones, and walked him back to the dugout, which was a resounding message to the whole team. Jones reportedly never again had to be reminded to hustle. Ralph Kiner retold that story dozens of times during Mets broadcasts, both as a tribute to Hodges, and as an illustration of his quiet but disciplined character. CANNOTANSWER
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Hodges was named The Sporting News' Manager of the Year, in skillfully platooning his players, utilizing everyone in the dugout, keeping everyone fresh.
|
Gilbert Ray Hodges (né Hodge; April 4, 1924 – April 2, 1972) was an American first baseman and manager in Major League Baseball (MLB) who played most of his 18-year career for the Brooklyn / Los Angeles Dodgers.
Hodges was widely regarded as the major leagues' outstanding first baseman in the 1950s, with teammate Duke Snider being the only player to have more home runs or runs batted in during the decade. He held the National League (NL) record for career home runs by a right-handed hitter from 1960 to 1963, with his final total of 370 briefly ranking tenth in major league history; he held the NL record for career grand slams from 1957 to 1974. An eight-time All-Star, he anchored the infield on six pennant winners, and remains one of the most beloved and admired players in team history. A sterling defensive player, he won the first three Gold Glove Awards and led the NL in double plays four times and in putouts, assists and fielding percentage three times each. He ranked second in NL history with 1,281 assists and 1,614 double plays when his career ended, and was among the league's career leaders in games (6th, 1,908) and total chances (10th, 16,751) at first base. He managed the New York Mets to the 1969 World Series title, one of the greatest upsets in sports history, before his death from a sudden heart attack at age 47. He was inducted into the New York Mets Hall of Fame in 1982, and was elected to the Baseball Hall of Fame in December 2021 for induction in .
Early years
Hodges was born in Princeton, Indiana, the son of coal miner Charles and his wife Irene, (nee Horstmeyer). He had an older brother, Robert, and a younger sister, Marjorie. The family moved to nearby Petersburg when Hodges was seven. He was a star four-sport athlete at Petersburg High School, earning a combined seven varsity letters in football, baseball, basketball and track. Hodges declined a contract offer from the Detroit Tigers, instead attending Saint Joseph's College with the hope of eventually becoming a collegiate coach. Hodges spent two years (1941–1942 and 1942–1943) at St Joseph's, competing in baseball, basketball and briefly in football.
He was signed by his agent, Gabriel Levi, of the Brooklyn Dodgers in 1943, and appeared in one game for the team as a third baseman that year. Hodges entered the United States Marine Corps during World War II after having participated in its Reserve Officers' Training Corps program at Saint Joseph's. He served in combat as an anti-aircraft gunner in the 16th Anti-Aircraft Artillery Battalion, participating in the battles of Tinian and Okinawa, and received a Bronze Star Medal with Combat "V" for heroism under fire.
Following the war, Hodges also spent time completing course work at Oakland City University, near his hometown, playing basketball for the Mighty Oaks, joining the 1947–48 team after four games (1–3 record); they finished at 9–10. One of his teammates, Bob Lochmueller, would go on to star at the University of Louisville and play in the NBA.
Brooklyn/Los Angeles Dodgers
Hodges was discharged from the Marine Corps in 1946, and returned to the Dodgers organization as a catcher with the Newport News Dodgers of the Piedmont League, batting .278 in 129 games as they won the league championship; his teammates included first baseman and future film and television star Chuck Connors.
Hodges was called up to Brooklyn in 1947, the same year that Jackie Robinson broke baseball's color barrier. He played as a catcher, joining the team's nucleus of Robinson, Pee Wee Reese and Carl Furillo. With the emergence of Roy Campanella behind the plate, manager Leo Durocher shifted Hodges to first base. Hodges' only appearance in the 1947 World Series against the New York Yankees was as a pinch hitter for pitcher Rex Barney in Game Seven, but he struck out. As a rookie in , he batted .249 with 11 home runs and 70 runs batted in.
On June 25, , Hodges hit for the cycle on his way to his first of seven consecutive All-Star teams. For the season, his 115 runs batted in ranked fourth in the NL, and he tied Hack Wilson's club record for right-handed hitters with 23 home runs. Defensively, he led the NL in putouts (1,336), double plays (142) and fielding average (.995). Facing the Yankees again in the Series, he batted only .235 but drove in the sole run in Brooklyn's only victory, a 1–0 triumph in Game
Two. In game five, he hit a two out, three-run homer in the seventh to pull the Dodgers within 10–6, but struck out to end the game and the Series.
On August 31, against the Boston Braves, Hodges joined Lou Gehrig as only the second player since 1900 to hit four home runs in a game without the benefit of extra innings; he hit them against four different pitchers, with the first coming off Warren Spahn. He also had seventeen total bases in the game, tied for third in MLB history.
That year he also led the league in fielding (.994) and set an NL record with 159 double plays, breaking Frank McCormick's mark of 153 with the Cincinnati Reds; he broke his own record in 1951 with 171, a record which stood until Donn Clendenon had 182 for the 1966 Pittsburgh Pirates. He finished 1950 third in the league in both homers (32) and runs batted in (113), and came in eighth in the Most Valuable Player voting. In 1951 he became the first member of the Dodgers to ever hit 40 home runs, breaking Babe Herman's 1930 mark of 35; Campanella hit 41 in 1953, but Hodges recaptured the record with 42 in 1954 before Snider eclipsed him again with 43 in 1956. His last home run of 1951 came on October 2 against the New York Giants, as the Dodgers tied the three-game NL playoff series at a game each with a 10–0 win; New York won the pennant the next day on Bobby Thomson's "Shot Heard 'Round the World". Hodges also led the NL with 126 assists in 1951, and was second in home runs, third in runs (118) and total bases (307), fifth in slugging percentage (.527), and sixth in runs batted in (103).
Hodges was an eight-time All-Star, from 1949 to 1955 and in 1957. With his last home run of 1952, he tied Dolph Camilli's Dodger career record of 139, surpassing him in 1953; Snider moved ahead of Hodges in 1956. He again led the NL with 116 assists in the 1952 campaign and was third in the league in home runs (32) and fourth in runs batted in (102) and slugging (.500).
A great fan favorite in Brooklyn, Hodges was perhaps the only Dodgers regular never booed at their home park Ebbets Field. Fans were supportive even when Hodges suffered through one of the most famous slumps in baseball history: after going hitless in his last four regular-season games of 1952, he also went hitless in all seven games of the 1952 World Series against the Yankees (finishing the Series 0-for-21 at the plate), with Brooklyn losing to the Yankees in the seven games. When Hodges' slump continued into the following spring, fans reacted with countless letters and good-luck gifts, and one Brooklyn priest – Father Herbert Redmond of St. Francis Roman Catholic Church – told his flock: "It's far too hot for a homily. Keep the Commandments and say a prayer for Gil Hodges." Hodges began hitting again soon afterward, and rarely struggled again in the World Series. Teammate Carl Erskine, who described himself as a good Baptist, kidded him by saying, "Gil, you just about made a believer out of me."
Hodges was involved in a blown call in the 1952 World Series. Johnny Sain was batting for the Yankees in the 10th inning of Game 5 and grounded out, as ruled by first base umpire Art Passarella. The photograph of the play, however, shows Sain stepping on first base while Hodges, also with a foot on the bag, is reaching for the ball that is about a foot shy of entering his glove. Baseball commissioner Ford Frick, an ex-newspaperman himself, refused to defend Passarella.
Hodges ended 1953 with a .302 batting average, finishing fifth in the NL in runs batted in (122) and sixth in home runs (31). Against the Yankees in the 1953 Series, Hodges hit .364; he had three hits, including a homer in the 9–5 Game 1 loss, but the Dodgers again lost in six games. Under their new manager Walter Alston in 1954, Hodges set the team home run record with 42, hitting a career-high .304 and again leading the NL in putouts (1,381) and assists (132). He was second in the league to Ted Kluszewski in home runs and runs batted in (130), fifth in total bases (335), and sixth in slugging (.579) and runs (106), and placed tenth in the Most Valuable Player vote.
The Boys of Summer
In the 1955 season, Hodges' regular-season production declined to a .289 average, 27 home runs and 102 runs batted in. Facing the Yankees in the World Series for the fifth time, he was 1-for-12 in the first three games before coming around. In Game 4, Hodges hit a two-run homer in the fourth inning to put Brooklyn ahead, 4–3, and later had a single that drove in a run as they held off the Yankees, 8–5; he also scored the first run in the Dodgers' 5–3 win in Game 5. In Game 7, he drove in Campanella with two out in the fourth inning for a 1–0 lead and added a sacrifice fly to score Reese with one out in the sixth inning. Johnny Podres scattered eight New York hits, and when Reese threw Elston Howard's grounder to Hodges for the final out, Brooklyn had a 2–0 win and their first World Series title in franchise history and their only championship in Brooklyn.
In 1956, Hodges had 32 home runs and 87 runs batted in as Brooklyn won the pennant again, and once more met the Yankees in the World Series. In the third inning of Game 1, he hit a three-run homer to put Brooklyn ahead, 5–2, as they went on to a 6–3 win; he had three hits and four runs batted in during the 13–8 slugfest in Game 2, scoring to give the Dodgers a 7–6 lead in the third and doubling in two runs each in the fourth and fifth innings for an 11–7 lead. In Don Larsen's perfect game Hodges struck out, flied to center, and lined to third base, as Brooklyn went on to lose in seven games.
In 1957 Hodges set the NL record for career grand slams, breaking the mark of 12 shared by Rogers Hornsby and Ralph Kiner; his final total of 14 was tied by Hank Aaron and Willie McCovey in 1972, and broken by Aaron in 1974. He finished seventh in the NL with a .299 batting average and fifth with 98 runs batted in, and leading the league with 1,317 putouts. He was also among the NL's top ten players in home runs (27), hits (173), runs (94), triples (7), slugging (.511) and total bases (296); in late September, he drove in the last Dodgers run ever at Ebbets Field, and the last run in Brooklyn history. Hodges was named to his last All-Star team and placed seventh in the Most Valuable Player balloting, the highest position in his career.
After the Dodgers relocated to Los Angeles, on April 23, 1958, Hodges became the seventh player to hit 300 home runs in the NL, connecting off Dick Drott of the Chicago Cubs. That year he also tied a post-1900 record by leading the league in double plays (134) for the fourth time, equaling Frank McCormick and Ted Kluszewski; Donn Clendenon eventually broke the record in 1968. Hodges' totals were 22 home runs and 64 runs batted in as the Dodgers finished in seventh place in their first season in California. He also broke Dolph Camilli's NL record of 923 career strikeouts in 1958.
In 1959, the Dodgers captured another NL title, with Hodges contributing 25 home runs, 80 runs batted in, and a batting average of .276, coming in seventh in the league with a .513 slugging mark; he also led the NL with a .992 fielding average. He batted .391 in the 1959 World Series against the Chicago White Sox (his first against a team other than the Yankees), with his solo home run in the eighth inning of Game 4 giving the Dodgers a 5–4 win, as they triumphed in six games for another Series championship.
In 1960, Hodges broke Kiner's NL record for right-handed hitters of 351 career home runs, and appeared on the TV program Home Run Derby. In his last season with the Dodgers in 1961, he became the team's career runs batted in leader with 1,254, passing Zack Wheat; Snider moved ahead of him the following year. Hodges received the first three Rawlings Gold Glove Awards, from 1957 to 1959.
Return to New York
After being chosen in the 1961 MLB Expansion Draft, Hodges was one of the original 1962 Mets and despite knee problems was persuaded to continue his playing career in New York, hitting the first home run in franchise history. By the end of the year, in which he played only 54 games, he ranked tenth in MLB history with 370 home runs – second to only Jimmie Foxx among right-handed hitters. He also held the National League (NL) record for career home runs by a right-handed hitter from 1960 to 1963, and held the NL record for career grand slams from 1957 to 1974.
Managerial career
After 11 games with the Mets in 1963, during which he batted .227 with no homers and was plagued by injuries, he was traded to the Washington Senators in late May for outfielder Jimmy Piersall so that he could replace Mickey Vernon as Washington's manager. Hodges immediately announced his retirement from playing in order to focus on his new position. The Giants' Willie Mays had passed him weeks earlier on April 19 to become the NL's home run leader among right-handed hitters; Hodges' last game had been on May 5 in a doubleheader hosting the Giants (who had moved to San Francisco in 1958). Hodges managed the Senators through 1967, and although they improved in each season they never achieved a winning record.
In 1968 Hodges was brought back to New York to manage the perennially woeful Mets, and while the team only posted a 73–89 record it was nonetheless the best mark in their seven years of existence up to that point.
In the second game of doubleheader on July 30, 1969, the Houston Astros, after scoring 11 runs in the ninth inning of the first game, were in the midst of a 10-run third inning, hitting a number of line drives to left field. When the Mets' star left fielder Cleon Jones failed to hustle after a ball hit to the outfield, Hodges removed him from the game, but rather than simply signal from the dugout for Jones to come out, or delegate the job to one of his coaches, Hodges left the dugout and slowly, deliberately, walked all the way out to left field to remove Jones, and walked him back to the dugout, which was a resounding message to the whole team. Jones reportedly never again had to be reminded to hustle.
That year, Hodges led the "Miracle Mets" to the World Series championship, defeating the heavily favored Baltimore Orioles; after losing Game 1, the team came back for four straight victories, including two by 2–1 scores. Finishing higher than ninth place for the first time, the Mets became not only the first expansion team to win a World Series, but also the first team ever to win the Fall Classic after finishing at least 15 games under .500 the previous year. Hodges was named The Sporting News Manager of the Year, in skillfully platooning his players, utilizing everyone in the dugout, keeping everyone fresh. Hodges continued as manager through the 1971 season. He died before the opening of the 1972 season and was succeeded by Yogi Berra.
Death and impact
On the afternoon of April 2, 1972, Easter Sunday, Hodges was in West Palm Beach, Florida completing a round of golf with Mets coaches Joe Pignatano, Rube Walker, and Eddie Yost, when he collapsed en route to his motel room at the Ramada Inn across the street from Municipal Stadium, then the spring training facility of the Atlanta Braves and Montreal Expos. Hodges had suffered a sudden heart attack and was rushed to Good Samaritan Hospital where he died within 20 minutes of arrival. Pignatano later recalled Hodges falling backwards and hitting his head on the sidewalk with a "sickening knock", bleeding profusely and turning blue. Pignatano said "I put my hand under Gil's head, but before you knew it, the blood stopped. I knew he was dead. He died in my arms." A lifelong chain smoker, Hodges had suffered a minor heart attack in 1968, during a game in late September.
Jackie Robinson, himself ill with heart disease and diabetes, told the Associated Press, "He was the core of the Brooklyn Dodgers. With this, and what's happened to Campy (Roy Campanella) and lot of other guys we played with, it scares you. I've been somewhat shocked by it all. I have tremendous feelings for Gil's family and kids." Robinson died of a heart attack six months later on October 24 at age 53.
Duke Snider said "Gil was a great player, but an even greater man." "I'm sick," said Johnny Podres, "I've never known a finer man." A crushed Carl Erskine said "Gil's death is like a bolt out of the blue." Don Drysdale, who himself died in Montreal of a sudden heart attack in 1993 at age 56, wrote in his autobiography that Hodges' death "absolutely shattered me. I just flew apart. I didn't leave my apartment in Texas for three days. I didn't want to see anybody. I couldn't get myself to go to the funeral. It was like I'd lost a part of my family."
The wake was held at Torregrossa Funeral Home, on Flatbush Ave in Brooklyn. The funeral was held at Our Lady Help of Christians Church in Midwood, Brooklyn, on April 4, what would have been Hodges' 48th birthday. Approximately 10,000 mourners attended the service.
Television broadcaster Howard Cosell was one of the many attendees at the wake. According to Gil Hodges Jr., Cosell brought him into the back seat of a car, where Jackie Robinson had been crying hysterically. Robinson then held Hodges Jr. and said, "Next to my son's death, this is the worst day of my life."
Hodges was survived by his wife, the former Joan Lombardi (b. 1926 in Brooklyn), whom he had married on December 26, 1948, and their children Gil Jr. (b. 1950), Irene, Cynthia and Barbara. He is buried at Holy Cross Cemetery in East Flatbush, Brooklyn.
Yogi Berra succeeded him as manager, having been promoted on the day of the funeral. The American flag flew at half-staff on Opening Day at Shea Stadium, while the Mets wore black armbands on their left arms during the entire 1972 season in honor of Hodges. On June 9, 1973, the Mets again honored Hodges by retiring his uniform number 14.
Accomplishments
Hodges batted .273 in his career with a .487 slugging percentage, 1,921 hits, 1,274 runs batted in, 1,105 runs, 370 home runs, 295 doubles and 63 stolen bases in 2,071 games. His 361 home runs with the Dodgers remain second in team history to Snider's 389. His 1,614 career double plays placed him behind only Charlie Grimm (1733) in NL history, and were a major league record for a right-handed fielding first baseman until Chris Chambliss surpassed him in 1984. His 1,281 career assists ranked second in league history to Fred Tenney's 1,363, and trailed only Ed Konetchy's 1,292 among all right-handed first basemen. Snider broke his NL record of 1,137 career strikeouts in 1964. When he retired after the 1963 season, he had hit the most home runs (370) ever by a right-handed batter up to that point in time (surpassed by Willie Mays) and the most career grand slams (14) by a National League player (eclipsed by Willie McCovey). He shares the major league record of having hit four home runs in a single game (only 18 players have ever done so in MLB history).
Legacy
Hodges received New York City's highest civilian honor, the Bronze Medallion, in 1969. On April 4, 1978 (what would have been Hodges' 54th birthday), the Marine Parkway Bridge, connecting Marine Park, Brooklyn with Rockaway, Queens, was renamed the Marine Parkway–Gil Hodges Memorial Bridge in his memory. Other Brooklyn locations named for him are a park on Carroll Street, a Little League field on Shell Road in Brooklyn, a section of Avenue L and P.S. 193. In addition, part of Bedford Avenue in Midwood, Brooklyn, is named Gil Hodges Way. A bowling alley in Mill Basin, Brooklyn, was formerly named Gil Hodges Lanes in his honor.
In Indiana, the high school baseball stadium in his birthplace of Princeton and a bridge spanning the East Fork of the White River in northern Pike County on State Road 57 bear his name. In addition, a Petersburg Little League baseball team is named in his honor, the Hodges Dodgers. In 2009, a mural was dedicated in Petersburg featuring pictures of Hodges as a Brooklyn Dodger, as manager of the New York Mets, and batting at Ebbets Field.
Hodges became an inaugural member of the Indiana Baseball Hall of Fame in 1979. He was inducted into the New York Mets Hall of Fame in 1982. In 2007, Hodges was inducted into the Marine Corps Sports Hall of Fame. In 2021, he was inducted in the New York State Sports Hall of Fame.
In 2000, Hodges was featured in the documentary Gil Hodges: The Quiet Man, based on the book of the same name by author Marino Amoruso. In November 2021, a 30-minute documentary—The Gil Hodges Story: Soul Of A Champion—was released and features interviews with Vin Scully, Tommy Lasorda, Carl Erskine, Gil Hodges Jr., and members of the 1969 New York Mets.
Hall of Fame consideration
Background
For decades, there was controversy over Hodges not being selected for induction to the Baseball Hall of Fame. He was considered to be one of the finest players of the 1950s, and graduated to managerial success with the Mets. However, critics of his candidacy pointed out that despite his offensive prowess, he never led the National League in any offensive category such as home runs, runs batted in, or slugging percentage, and never came close to winning a Most Valuable Player award. Additionally, until the election of Tony Pérez in 2000, every first baseman in the Hall had either 500 career home runs or a batting average over .295; at the time of Hodges' death, the BBWAA had only elected two position players (Rabbit Maranville and Roy Campanella) with batting averages below .285. Hodges' not having been voted an MVP may have resulted in part from his having had some of his best seasons (1950, 1954 and 1957) in years when the Dodgers did not win the pennant.
BBWAA candidate
After last playing in the major leagues during the 1963 season, Hodges first appeared on the 1969 ballot, receiving 24.1% of ballots cast by BBWAA electors, with 75% the threshold for election. He was considered annually through the 1983 ballot, his 15th and final ballot appearance under BBWAA rules at the time. He appeared on 63.4% of ballots in 1983 voting, the highest percentage of his candidacy. Hodges collected 3,010 votes cast by the BBWAA from 1969 to 1983, the most votes for an unselected player until surpassed by Jim Rice in 2008, prior to Rice's election the following year.
Veterans Committee candidate
Hodges was considered for selection by the Hall of Fame's Veterans Committee starting in 1987. Voting by the committee was held in closed sessions for many years, but results are known for Hodges in voting (61%), (65%), (61%), and (43.8%). Each time, Hodges fell short of the 75% minimum required for election.
Golden Era / Golden Days candidate
In 2011, Hodges became a Golden Era candidate (1947–1972 era) for consideration to be elected to the Hall of Fame by the Golden Era Committee, which replaced the Veterans Committee in 2010. In December 2011, voting by the committee took place during the Hall of Fame's two-day winter meeting in Dallas, Texas. Induction to the Hall requires at least 12 votes (75%) from the 16-member committee. Of 10 candidates, Ron Santo was the only one elected, having received 15 votes; Jim Kaat had 10 votes, and Hodges and Minnie Miñoso were tied with nine votes.
Hodges' next opportunity under the Golden Era Committee was in December 2014, when the committee voted at the MLB winter meeting. Hodges received only three votes, and none of the other eight player candidates on the ballot were elected to the Hall of Fame, including Dick Allen and Tony Oliva, who each fell one vote shy of the 12-vote threshold. In July 2016, the Golden Era committee was succeeded by the Golden Days committee (1950–1969 era).
Hodges was one of 10 nominees named on November 5, 2021 to the Golden Days Era ballot for Hall of Fame consideration. On December 5, the Hall of Fame announced Hodges' election, having received 12 of 16 votes to meet the 75% threshold.
See also
List of lifetime home run leaders through history
List of Major League Baseball career home run leaders
List of Gold Glove Award winners at first base
Lou Gehrig Memorial Award
List of Major League Baseball retired numbers
List of Major League Baseball career runs scored leaders
List of Major League Baseball career runs batted in leaders
List of Major League Baseball players to hit for the cycle
List of Major League Baseball single-game home run leaders
References
Further reading
Books
Articles
External links
Gil Hodges at the Baseball Hall of Fame
1924 births
1972 deaths
Major League Baseball first basemen
Brooklyn Dodgers players
Los Angeles Dodgers players
New York Mets players
National League All-Stars
Gold Glove Award winners
Major League Baseball players with retired numbers
Baseball players from Indiana
Newport News Dodgers players
New York Mets managers
Washington Senators (1961–1971) managers
Hod
Major League Baseball managers with retired numbers
United States Marine Corps personnel of World War II
Saint Joseph's Pumas baseball players
Saint Joseph's Pumas football players
Saint Joseph's Pumas men's basketball players
Sportspeople from Brooklyn
People from Princeton, Indiana
Burials at Holy Cross Cemetery, Brooklyn
People from Petersburg, Indiana
People from Midwood, Brooklyn
United States Marines
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[
"Albert 'Bert' Edward Hodges (29 January 1905 – 23 September 1986) was a Welsh cricketer. Hodges was a right-handed batsman who bowled right-arm leg break googly. He was born at Briton Ferry, Glamorgan.\n\nHodges debut in County Cricket came for Monmouthshire in the 1926 Minor Counties Championship against Cornwall. From 1926 to 1934, he played 27 Minor Counties matches for Monmouthshire, with his final appearance for the county coming against Berkshire in 1934.\n\nHodges made his first-class debut in 1930, when he represented Wales against the Marylebone Cricket Club at Lord's. Six years later Hodges made his first-class debut for Glamorgan against Gloucestershire, in what was his only first-class appearance for the county.\n\nHodges died at Maindee, Monmouthshire on 23 September 1986.\n\nReferences\n\nExternal links\nBert Hodges at Cricinfo\nBert Hodges at CricketArchive\n\n1905 births\n1986 deaths\nSportspeople from Newport, Wales\nWelsh cricketers\nMonmouthshire cricketers\nGlamorgan cricketers",
"George Tisdale Hodges (July 4, 1789August 9, 1860) was an American politician who served as a U.S. Representative from Vermont.\n\nEarly life\nHodges was born in Clarendon in the Vermont Republic and attended the common schools.\n\nCareer\nInvolved in the banking industry in Rutland, Vermont, Hodges served as president of the Bank of Rutland for over twenty-five years.\n\nHodges served as a member of the Vermont House of Representatives from 1827 to 1829, 1839 and 1840. He served in the Vermont State Senate from 1845 to 1847 and was President pro tempore in 1846 and 1847.\n\nA Whig Presidential Elector for Vermont in 1848, Hodges became a Republican when that party was founded. In 1856 he was elected to the Thirty-fourth Congress to fill the vacancy caused by the death of James Meacham. He served from December 1, 1856 to March 3, 1857. He was not a candidate for renomination in 1856.\n\nDeath\nHodges died on August 9, 1860 in Rutland. He is interred at Evergreen Cemetery in Rutland.\n\nReferences\n\nExternal links\n\n \n The Political Graveyard\n govtrack.us\n\n1789 births\n1860 deaths\nPeople from Clarendon, Vermont\nAmerican bankers\nVermont Whigs\nVermont Republicans\nMembers of the Vermont House of Representatives\nVermont state senators\nPresidents pro tempore of the Vermont Senate\nMembers of the United States House of Representatives from Vermont\nRepublican Party members of the United States House of Representatives\n19th-century American politicians\n19th-century American businesspeople"
] |
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Did he win any awards or recognition?
| 5 |
Did Gil Hodges win any awards or recognition?
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Gil Hodges
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After 11 games with the Mets in 1963, during which he batted .227 with no homers and was plagued by injuries, he was traded to the Washington Senators in late May for outfielder Jimmy Piersall so that he could replace Mickey Vernon as Washington's manager. Hodges immediately announced his retirement from playing in order to clearly focus on his new position. The Giants' Willie Mays had passed him weeks earlier on April 19 to become the NL's home run leader among right-handed hitters; Hodges' last game had been on May 5 in a doubleheader hosting the Giants (who had moved to San Francisco in 1958). Hodges managed the Senators through 1967, and although they improved in each season they never achieved a winning record. One of the most notable incidents in his career occurred in the summer of 1965, when pitcher Ryne Duren - reaching the end of his career and sinking into alcoholism - walked onto a bridge with intentions of suicide; his manager talked him away from the edge. In 1968 Hodges was brought back to New York to manage the perennially woeful Mets, and while the team only posted a 73-89 record it was nonetheless the best mark in their seven years of existence up to that point. In 1969, he led the "Miracle Mets" to the World Series championship, defeating the heavily favored Baltimore Orioles; after losing Game 1, they came back for four straight victories, including two by 2-1 scores. Finishing higher than ninth place for the first time, the Mets became not only the first expansion team to win a World Series, but also the first team ever to win the Fall Classic after finishing at least 15 games under .500 the previous year. Hodges was named The Sporting News' Manager of the Year, in skillfully platooning his players, utilizing everyone in the dugout, keeping everyone fresh. Hodges continued as manager through the 1971 season. He died before the opening of the 1972 season and was succeeded by Yogi Berra. In the second game of doubleheader on July 30, 1969, the Houston Astros, after scoring 11 runs in the ninth inning of the first game, were in the midst of a 10-run third inning, hitting a number of line drives to left field. When the Mets' star left fielder Cleon Jones failed to hustle after a ball hit to the outfield, Hodges removed him from the game, but rather than simply signal from the dugout for Jones to come out, or delegate the job to one of his coaches, Hodges left the dugout and slowly, deliberately, walked all the way out to left field to remove Jones, and walked him back to the dugout, which was a resounding message to the whole team. Jones reportedly never again had to be reminded to hustle. Ralph Kiner retold that story dozens of times during Mets broadcasts, both as a tribute to Hodges, and as an illustration of his quiet but disciplined character. CANNOTANSWER
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CANNOTANSWER
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Gilbert Ray Hodges (né Hodge; April 4, 1924 – April 2, 1972) was an American first baseman and manager in Major League Baseball (MLB) who played most of his 18-year career for the Brooklyn / Los Angeles Dodgers.
Hodges was widely regarded as the major leagues' outstanding first baseman in the 1950s, with teammate Duke Snider being the only player to have more home runs or runs batted in during the decade. He held the National League (NL) record for career home runs by a right-handed hitter from 1960 to 1963, with his final total of 370 briefly ranking tenth in major league history; he held the NL record for career grand slams from 1957 to 1974. An eight-time All-Star, he anchored the infield on six pennant winners, and remains one of the most beloved and admired players in team history. A sterling defensive player, he won the first three Gold Glove Awards and led the NL in double plays four times and in putouts, assists and fielding percentage three times each. He ranked second in NL history with 1,281 assists and 1,614 double plays when his career ended, and was among the league's career leaders in games (6th, 1,908) and total chances (10th, 16,751) at first base. He managed the New York Mets to the 1969 World Series title, one of the greatest upsets in sports history, before his death from a sudden heart attack at age 47. He was inducted into the New York Mets Hall of Fame in 1982, and was elected to the Baseball Hall of Fame in December 2021 for induction in .
Early years
Hodges was born in Princeton, Indiana, the son of coal miner Charles and his wife Irene, (nee Horstmeyer). He had an older brother, Robert, and a younger sister, Marjorie. The family moved to nearby Petersburg when Hodges was seven. He was a star four-sport athlete at Petersburg High School, earning a combined seven varsity letters in football, baseball, basketball and track. Hodges declined a contract offer from the Detroit Tigers, instead attending Saint Joseph's College with the hope of eventually becoming a collegiate coach. Hodges spent two years (1941–1942 and 1942–1943) at St Joseph's, competing in baseball, basketball and briefly in football.
He was signed by his agent, Gabriel Levi, of the Brooklyn Dodgers in 1943, and appeared in one game for the team as a third baseman that year. Hodges entered the United States Marine Corps during World War II after having participated in its Reserve Officers' Training Corps program at Saint Joseph's. He served in combat as an anti-aircraft gunner in the 16th Anti-Aircraft Artillery Battalion, participating in the battles of Tinian and Okinawa, and received a Bronze Star Medal with Combat "V" for heroism under fire.
Following the war, Hodges also spent time completing course work at Oakland City University, near his hometown, playing basketball for the Mighty Oaks, joining the 1947–48 team after four games (1–3 record); they finished at 9–10. One of his teammates, Bob Lochmueller, would go on to star at the University of Louisville and play in the NBA.
Brooklyn/Los Angeles Dodgers
Hodges was discharged from the Marine Corps in 1946, and returned to the Dodgers organization as a catcher with the Newport News Dodgers of the Piedmont League, batting .278 in 129 games as they won the league championship; his teammates included first baseman and future film and television star Chuck Connors.
Hodges was called up to Brooklyn in 1947, the same year that Jackie Robinson broke baseball's color barrier. He played as a catcher, joining the team's nucleus of Robinson, Pee Wee Reese and Carl Furillo. With the emergence of Roy Campanella behind the plate, manager Leo Durocher shifted Hodges to first base. Hodges' only appearance in the 1947 World Series against the New York Yankees was as a pinch hitter for pitcher Rex Barney in Game Seven, but he struck out. As a rookie in , he batted .249 with 11 home runs and 70 runs batted in.
On June 25, , Hodges hit for the cycle on his way to his first of seven consecutive All-Star teams. For the season, his 115 runs batted in ranked fourth in the NL, and he tied Hack Wilson's club record for right-handed hitters with 23 home runs. Defensively, he led the NL in putouts (1,336), double plays (142) and fielding average (.995). Facing the Yankees again in the Series, he batted only .235 but drove in the sole run in Brooklyn's only victory, a 1–0 triumph in Game
Two. In game five, he hit a two out, three-run homer in the seventh to pull the Dodgers within 10–6, but struck out to end the game and the Series.
On August 31, against the Boston Braves, Hodges joined Lou Gehrig as only the second player since 1900 to hit four home runs in a game without the benefit of extra innings; he hit them against four different pitchers, with the first coming off Warren Spahn. He also had seventeen total bases in the game, tied for third in MLB history.
That year he also led the league in fielding (.994) and set an NL record with 159 double plays, breaking Frank McCormick's mark of 153 with the Cincinnati Reds; he broke his own record in 1951 with 171, a record which stood until Donn Clendenon had 182 for the 1966 Pittsburgh Pirates. He finished 1950 third in the league in both homers (32) and runs batted in (113), and came in eighth in the Most Valuable Player voting. In 1951 he became the first member of the Dodgers to ever hit 40 home runs, breaking Babe Herman's 1930 mark of 35; Campanella hit 41 in 1953, but Hodges recaptured the record with 42 in 1954 before Snider eclipsed him again with 43 in 1956. His last home run of 1951 came on October 2 against the New York Giants, as the Dodgers tied the three-game NL playoff series at a game each with a 10–0 win; New York won the pennant the next day on Bobby Thomson's "Shot Heard 'Round the World". Hodges also led the NL with 126 assists in 1951, and was second in home runs, third in runs (118) and total bases (307), fifth in slugging percentage (.527), and sixth in runs batted in (103).
Hodges was an eight-time All-Star, from 1949 to 1955 and in 1957. With his last home run of 1952, he tied Dolph Camilli's Dodger career record of 139, surpassing him in 1953; Snider moved ahead of Hodges in 1956. He again led the NL with 116 assists in the 1952 campaign and was third in the league in home runs (32) and fourth in runs batted in (102) and slugging (.500).
A great fan favorite in Brooklyn, Hodges was perhaps the only Dodgers regular never booed at their home park Ebbets Field. Fans were supportive even when Hodges suffered through one of the most famous slumps in baseball history: after going hitless in his last four regular-season games of 1952, he also went hitless in all seven games of the 1952 World Series against the Yankees (finishing the Series 0-for-21 at the plate), with Brooklyn losing to the Yankees in the seven games. When Hodges' slump continued into the following spring, fans reacted with countless letters and good-luck gifts, and one Brooklyn priest – Father Herbert Redmond of St. Francis Roman Catholic Church – told his flock: "It's far too hot for a homily. Keep the Commandments and say a prayer for Gil Hodges." Hodges began hitting again soon afterward, and rarely struggled again in the World Series. Teammate Carl Erskine, who described himself as a good Baptist, kidded him by saying, "Gil, you just about made a believer out of me."
Hodges was involved in a blown call in the 1952 World Series. Johnny Sain was batting for the Yankees in the 10th inning of Game 5 and grounded out, as ruled by first base umpire Art Passarella. The photograph of the play, however, shows Sain stepping on first base while Hodges, also with a foot on the bag, is reaching for the ball that is about a foot shy of entering his glove. Baseball commissioner Ford Frick, an ex-newspaperman himself, refused to defend Passarella.
Hodges ended 1953 with a .302 batting average, finishing fifth in the NL in runs batted in (122) and sixth in home runs (31). Against the Yankees in the 1953 Series, Hodges hit .364; he had three hits, including a homer in the 9–5 Game 1 loss, but the Dodgers again lost in six games. Under their new manager Walter Alston in 1954, Hodges set the team home run record with 42, hitting a career-high .304 and again leading the NL in putouts (1,381) and assists (132). He was second in the league to Ted Kluszewski in home runs and runs batted in (130), fifth in total bases (335), and sixth in slugging (.579) and runs (106), and placed tenth in the Most Valuable Player vote.
The Boys of Summer
In the 1955 season, Hodges' regular-season production declined to a .289 average, 27 home runs and 102 runs batted in. Facing the Yankees in the World Series for the fifth time, he was 1-for-12 in the first three games before coming around. In Game 4, Hodges hit a two-run homer in the fourth inning to put Brooklyn ahead, 4–3, and later had a single that drove in a run as they held off the Yankees, 8–5; he also scored the first run in the Dodgers' 5–3 win in Game 5. In Game 7, he drove in Campanella with two out in the fourth inning for a 1–0 lead and added a sacrifice fly to score Reese with one out in the sixth inning. Johnny Podres scattered eight New York hits, and when Reese threw Elston Howard's grounder to Hodges for the final out, Brooklyn had a 2–0 win and their first World Series title in franchise history and their only championship in Brooklyn.
In 1956, Hodges had 32 home runs and 87 runs batted in as Brooklyn won the pennant again, and once more met the Yankees in the World Series. In the third inning of Game 1, he hit a three-run homer to put Brooklyn ahead, 5–2, as they went on to a 6–3 win; he had three hits and four runs batted in during the 13–8 slugfest in Game 2, scoring to give the Dodgers a 7–6 lead in the third and doubling in two runs each in the fourth and fifth innings for an 11–7 lead. In Don Larsen's perfect game Hodges struck out, flied to center, and lined to third base, as Brooklyn went on to lose in seven games.
In 1957 Hodges set the NL record for career grand slams, breaking the mark of 12 shared by Rogers Hornsby and Ralph Kiner; his final total of 14 was tied by Hank Aaron and Willie McCovey in 1972, and broken by Aaron in 1974. He finished seventh in the NL with a .299 batting average and fifth with 98 runs batted in, and leading the league with 1,317 putouts. He was also among the NL's top ten players in home runs (27), hits (173), runs (94), triples (7), slugging (.511) and total bases (296); in late September, he drove in the last Dodgers run ever at Ebbets Field, and the last run in Brooklyn history. Hodges was named to his last All-Star team and placed seventh in the Most Valuable Player balloting, the highest position in his career.
After the Dodgers relocated to Los Angeles, on April 23, 1958, Hodges became the seventh player to hit 300 home runs in the NL, connecting off Dick Drott of the Chicago Cubs. That year he also tied a post-1900 record by leading the league in double plays (134) for the fourth time, equaling Frank McCormick and Ted Kluszewski; Donn Clendenon eventually broke the record in 1968. Hodges' totals were 22 home runs and 64 runs batted in as the Dodgers finished in seventh place in their first season in California. He also broke Dolph Camilli's NL record of 923 career strikeouts in 1958.
In 1959, the Dodgers captured another NL title, with Hodges contributing 25 home runs, 80 runs batted in, and a batting average of .276, coming in seventh in the league with a .513 slugging mark; he also led the NL with a .992 fielding average. He batted .391 in the 1959 World Series against the Chicago White Sox (his first against a team other than the Yankees), with his solo home run in the eighth inning of Game 4 giving the Dodgers a 5–4 win, as they triumphed in six games for another Series championship.
In 1960, Hodges broke Kiner's NL record for right-handed hitters of 351 career home runs, and appeared on the TV program Home Run Derby. In his last season with the Dodgers in 1961, he became the team's career runs batted in leader with 1,254, passing Zack Wheat; Snider moved ahead of him the following year. Hodges received the first three Rawlings Gold Glove Awards, from 1957 to 1959.
Return to New York
After being chosen in the 1961 MLB Expansion Draft, Hodges was one of the original 1962 Mets and despite knee problems was persuaded to continue his playing career in New York, hitting the first home run in franchise history. By the end of the year, in which he played only 54 games, he ranked tenth in MLB history with 370 home runs – second to only Jimmie Foxx among right-handed hitters. He also held the National League (NL) record for career home runs by a right-handed hitter from 1960 to 1963, and held the NL record for career grand slams from 1957 to 1974.
Managerial career
After 11 games with the Mets in 1963, during which he batted .227 with no homers and was plagued by injuries, he was traded to the Washington Senators in late May for outfielder Jimmy Piersall so that he could replace Mickey Vernon as Washington's manager. Hodges immediately announced his retirement from playing in order to focus on his new position. The Giants' Willie Mays had passed him weeks earlier on April 19 to become the NL's home run leader among right-handed hitters; Hodges' last game had been on May 5 in a doubleheader hosting the Giants (who had moved to San Francisco in 1958). Hodges managed the Senators through 1967, and although they improved in each season they never achieved a winning record.
In 1968 Hodges was brought back to New York to manage the perennially woeful Mets, and while the team only posted a 73–89 record it was nonetheless the best mark in their seven years of existence up to that point.
In the second game of doubleheader on July 30, 1969, the Houston Astros, after scoring 11 runs in the ninth inning of the first game, were in the midst of a 10-run third inning, hitting a number of line drives to left field. When the Mets' star left fielder Cleon Jones failed to hustle after a ball hit to the outfield, Hodges removed him from the game, but rather than simply signal from the dugout for Jones to come out, or delegate the job to one of his coaches, Hodges left the dugout and slowly, deliberately, walked all the way out to left field to remove Jones, and walked him back to the dugout, which was a resounding message to the whole team. Jones reportedly never again had to be reminded to hustle.
That year, Hodges led the "Miracle Mets" to the World Series championship, defeating the heavily favored Baltimore Orioles; after losing Game 1, the team came back for four straight victories, including two by 2–1 scores. Finishing higher than ninth place for the first time, the Mets became not only the first expansion team to win a World Series, but also the first team ever to win the Fall Classic after finishing at least 15 games under .500 the previous year. Hodges was named The Sporting News Manager of the Year, in skillfully platooning his players, utilizing everyone in the dugout, keeping everyone fresh. Hodges continued as manager through the 1971 season. He died before the opening of the 1972 season and was succeeded by Yogi Berra.
Death and impact
On the afternoon of April 2, 1972, Easter Sunday, Hodges was in West Palm Beach, Florida completing a round of golf with Mets coaches Joe Pignatano, Rube Walker, and Eddie Yost, when he collapsed en route to his motel room at the Ramada Inn across the street from Municipal Stadium, then the spring training facility of the Atlanta Braves and Montreal Expos. Hodges had suffered a sudden heart attack and was rushed to Good Samaritan Hospital where he died within 20 minutes of arrival. Pignatano later recalled Hodges falling backwards and hitting his head on the sidewalk with a "sickening knock", bleeding profusely and turning blue. Pignatano said "I put my hand under Gil's head, but before you knew it, the blood stopped. I knew he was dead. He died in my arms." A lifelong chain smoker, Hodges had suffered a minor heart attack in 1968, during a game in late September.
Jackie Robinson, himself ill with heart disease and diabetes, told the Associated Press, "He was the core of the Brooklyn Dodgers. With this, and what's happened to Campy (Roy Campanella) and lot of other guys we played with, it scares you. I've been somewhat shocked by it all. I have tremendous feelings for Gil's family and kids." Robinson died of a heart attack six months later on October 24 at age 53.
Duke Snider said "Gil was a great player, but an even greater man." "I'm sick," said Johnny Podres, "I've never known a finer man." A crushed Carl Erskine said "Gil's death is like a bolt out of the blue." Don Drysdale, who himself died in Montreal of a sudden heart attack in 1993 at age 56, wrote in his autobiography that Hodges' death "absolutely shattered me. I just flew apart. I didn't leave my apartment in Texas for three days. I didn't want to see anybody. I couldn't get myself to go to the funeral. It was like I'd lost a part of my family."
The wake was held at Torregrossa Funeral Home, on Flatbush Ave in Brooklyn. The funeral was held at Our Lady Help of Christians Church in Midwood, Brooklyn, on April 4, what would have been Hodges' 48th birthday. Approximately 10,000 mourners attended the service.
Television broadcaster Howard Cosell was one of the many attendees at the wake. According to Gil Hodges Jr., Cosell brought him into the back seat of a car, where Jackie Robinson had been crying hysterically. Robinson then held Hodges Jr. and said, "Next to my son's death, this is the worst day of my life."
Hodges was survived by his wife, the former Joan Lombardi (b. 1926 in Brooklyn), whom he had married on December 26, 1948, and their children Gil Jr. (b. 1950), Irene, Cynthia and Barbara. He is buried at Holy Cross Cemetery in East Flatbush, Brooklyn.
Yogi Berra succeeded him as manager, having been promoted on the day of the funeral. The American flag flew at half-staff on Opening Day at Shea Stadium, while the Mets wore black armbands on their left arms during the entire 1972 season in honor of Hodges. On June 9, 1973, the Mets again honored Hodges by retiring his uniform number 14.
Accomplishments
Hodges batted .273 in his career with a .487 slugging percentage, 1,921 hits, 1,274 runs batted in, 1,105 runs, 370 home runs, 295 doubles and 63 stolen bases in 2,071 games. His 361 home runs with the Dodgers remain second in team history to Snider's 389. His 1,614 career double plays placed him behind only Charlie Grimm (1733) in NL history, and were a major league record for a right-handed fielding first baseman until Chris Chambliss surpassed him in 1984. His 1,281 career assists ranked second in league history to Fred Tenney's 1,363, and trailed only Ed Konetchy's 1,292 among all right-handed first basemen. Snider broke his NL record of 1,137 career strikeouts in 1964. When he retired after the 1963 season, he had hit the most home runs (370) ever by a right-handed batter up to that point in time (surpassed by Willie Mays) and the most career grand slams (14) by a National League player (eclipsed by Willie McCovey). He shares the major league record of having hit four home runs in a single game (only 18 players have ever done so in MLB history).
Legacy
Hodges received New York City's highest civilian honor, the Bronze Medallion, in 1969. On April 4, 1978 (what would have been Hodges' 54th birthday), the Marine Parkway Bridge, connecting Marine Park, Brooklyn with Rockaway, Queens, was renamed the Marine Parkway–Gil Hodges Memorial Bridge in his memory. Other Brooklyn locations named for him are a park on Carroll Street, a Little League field on Shell Road in Brooklyn, a section of Avenue L and P.S. 193. In addition, part of Bedford Avenue in Midwood, Brooklyn, is named Gil Hodges Way. A bowling alley in Mill Basin, Brooklyn, was formerly named Gil Hodges Lanes in his honor.
In Indiana, the high school baseball stadium in his birthplace of Princeton and a bridge spanning the East Fork of the White River in northern Pike County on State Road 57 bear his name. In addition, a Petersburg Little League baseball team is named in his honor, the Hodges Dodgers. In 2009, a mural was dedicated in Petersburg featuring pictures of Hodges as a Brooklyn Dodger, as manager of the New York Mets, and batting at Ebbets Field.
Hodges became an inaugural member of the Indiana Baseball Hall of Fame in 1979. He was inducted into the New York Mets Hall of Fame in 1982. In 2007, Hodges was inducted into the Marine Corps Sports Hall of Fame. In 2021, he was inducted in the New York State Sports Hall of Fame.
In 2000, Hodges was featured in the documentary Gil Hodges: The Quiet Man, based on the book of the same name by author Marino Amoruso. In November 2021, a 30-minute documentary—The Gil Hodges Story: Soul Of A Champion—was released and features interviews with Vin Scully, Tommy Lasorda, Carl Erskine, Gil Hodges Jr., and members of the 1969 New York Mets.
Hall of Fame consideration
Background
For decades, there was controversy over Hodges not being selected for induction to the Baseball Hall of Fame. He was considered to be one of the finest players of the 1950s, and graduated to managerial success with the Mets. However, critics of his candidacy pointed out that despite his offensive prowess, he never led the National League in any offensive category such as home runs, runs batted in, or slugging percentage, and never came close to winning a Most Valuable Player award. Additionally, until the election of Tony Pérez in 2000, every first baseman in the Hall had either 500 career home runs or a batting average over .295; at the time of Hodges' death, the BBWAA had only elected two position players (Rabbit Maranville and Roy Campanella) with batting averages below .285. Hodges' not having been voted an MVP may have resulted in part from his having had some of his best seasons (1950, 1954 and 1957) in years when the Dodgers did not win the pennant.
BBWAA candidate
After last playing in the major leagues during the 1963 season, Hodges first appeared on the 1969 ballot, receiving 24.1% of ballots cast by BBWAA electors, with 75% the threshold for election. He was considered annually through the 1983 ballot, his 15th and final ballot appearance under BBWAA rules at the time. He appeared on 63.4% of ballots in 1983 voting, the highest percentage of his candidacy. Hodges collected 3,010 votes cast by the BBWAA from 1969 to 1983, the most votes for an unselected player until surpassed by Jim Rice in 2008, prior to Rice's election the following year.
Veterans Committee candidate
Hodges was considered for selection by the Hall of Fame's Veterans Committee starting in 1987. Voting by the committee was held in closed sessions for many years, but results are known for Hodges in voting (61%), (65%), (61%), and (43.8%). Each time, Hodges fell short of the 75% minimum required for election.
Golden Era / Golden Days candidate
In 2011, Hodges became a Golden Era candidate (1947–1972 era) for consideration to be elected to the Hall of Fame by the Golden Era Committee, which replaced the Veterans Committee in 2010. In December 2011, voting by the committee took place during the Hall of Fame's two-day winter meeting in Dallas, Texas. Induction to the Hall requires at least 12 votes (75%) from the 16-member committee. Of 10 candidates, Ron Santo was the only one elected, having received 15 votes; Jim Kaat had 10 votes, and Hodges and Minnie Miñoso were tied with nine votes.
Hodges' next opportunity under the Golden Era Committee was in December 2014, when the committee voted at the MLB winter meeting. Hodges received only three votes, and none of the other eight player candidates on the ballot were elected to the Hall of Fame, including Dick Allen and Tony Oliva, who each fell one vote shy of the 12-vote threshold. In July 2016, the Golden Era committee was succeeded by the Golden Days committee (1950–1969 era).
Hodges was one of 10 nominees named on November 5, 2021 to the Golden Days Era ballot for Hall of Fame consideration. On December 5, the Hall of Fame announced Hodges' election, having received 12 of 16 votes to meet the 75% threshold.
See also
List of lifetime home run leaders through history
List of Major League Baseball career home run leaders
List of Gold Glove Award winners at first base
Lou Gehrig Memorial Award
List of Major League Baseball retired numbers
List of Major League Baseball career runs scored leaders
List of Major League Baseball career runs batted in leaders
List of Major League Baseball players to hit for the cycle
List of Major League Baseball single-game home run leaders
References
Further reading
Books
Articles
External links
Gil Hodges at the Baseball Hall of Fame
1924 births
1972 deaths
Major League Baseball first basemen
Brooklyn Dodgers players
Los Angeles Dodgers players
New York Mets players
National League All-Stars
Gold Glove Award winners
Major League Baseball players with retired numbers
Baseball players from Indiana
Newport News Dodgers players
New York Mets managers
Washington Senators (1961–1971) managers
Hod
Major League Baseball managers with retired numbers
United States Marine Corps personnel of World War II
Saint Joseph's Pumas baseball players
Saint Joseph's Pumas football players
Saint Joseph's Pumas men's basketball players
Sportspeople from Brooklyn
People from Princeton, Indiana
Burials at Holy Cross Cemetery, Brooklyn
People from Petersburg, Indiana
People from Midwood, Brooklyn
United States Marines
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[
"The Wire is an American crime drama television series created by David Simon and broadcast by the cable network HBO. It premiered on June 2, 2002, and ended on March 9, 2008, comprising sixty episodes over five seasons. Set in Baltimore, Maryland, The Wire follows different institutions within the city, such as the illegal drug trade, the education system, and the media, and their relationships to law enforcement. The series features a diverse ensemble cast of both veteran and novice actors; the large number of black actors was considered groundbreaking for the time.\n\nThe Wire has been widely hailed as one of the greatest television series of all time. Despite the critical acclaim, however, the show received relatively few awards during its run. It was nominated for only two Primetime Emmy Awards – both for Outstanding Writing for a Drama Series – and did not win any. Many have called its lack of recognition, especially in the Outstanding Drama Series category, one of the biggest Emmys snubs ever. Some have argued the lack of recognition was due to the show's dense plots and a disconnect between the setting and Los Angeles-based voters.\n\nOutside of the Emmys, The Wire won a Writers Guild of America Award for Television: Dramatic Series in 2008, as well as a Directors Guild of America Award for the episode \"Transitions\" in 2009. It was thrice named one of the top television programs of the year by the American Film Institute and received a Peabody Award in 2004. The series was nominated for sixteen NAACP Image Awards but never won one. It was also nominated for ten Television Critics Association Awards, with its only win coming in 2008 for the group's Heritage Award.\n\nAwards and nominations\n\nNotes\n\nNominees for awards\n\nOther\n\nReferences\n\nExternal links\n \n\nAwards and nominations\nWire",
"This is a list of awards and nominations for composer Alan Menken. Menken has been recognized with multiple awards and nominations for his work in film, theatre, television, and music.\n\nFor his work in film he earned 19 Academy Award nominations winning 8 Oscars for The Little Mermaid (1989), Beauty and the Beast (1991), Aladdin (1992), Pocahontas (1995). He also earned 16 Golden Globe Award nominations winning 7 awards. He has earned two British Academy Film Award nominations, and five Critics' Choice Movie Award nominations. For his work in theatre he received five Tony Award nominations winning once, and 2 Laurence Olivier Awards winning once. He also received 24 Grammy Awards winning 11 awards. For his work in television he has earned two Emmy Awards.\n\nMajor associations\n\nAcademy Awards\n 8 wins out of 19 nominations\n\nEmmy Awards\n\nGrammy Awards \n 11 wins out of 24 nominations\n\nTony Awards \n1 win out of 5 nominations\n\nFilm awards\n\nBritish Academy Film Awards\n\nCritics' Choice Awards\n\nGolden Globe Awards\n 7 wins out of 16 nominations\n\nTheater work\n\nDrama Desk Awards \n 1 win out of 6 nominations\n\nDrama League Awards\n\nEvening Standard Award\n\nLaurence Olivier Awards\n1 win out of 2 nominations\n\nNew York Drama Critic Circle Awards\n\nOuter Critics Circle Awards \n3 wins out of 4 nominations\n\nMiscellaenous awards\n\nAnnie Awards\n 1 win out of 4 nominations\n\nBMI Film/TV Awards\n 8 wins out of 8 nominations + Richard Kirk Career Achievement Award\n\nGeorgia Film Critics Association Awards\n\nGolden Raspberry Award \n\nMenken officially accepted this Razzie and has spoken proudly of it in interviews since.\n\nHouston Film Critics Society Awards\n\nInternational Film Music Critics Awards\n1 win out of 3 nominations\n\nOnline Film and Television Awards\n\nPhoenix Film Critics Society Awards\n\nSaturn Awards\n 2 wins out of 5 nominations\n\nSierra Awards\n\nFrench Mickey d'Or \n3 wins out of 9 nominations\n\nSpecial honors\n\n 1993 – Distinguished Alumni Award (given by New York University Association)\n 1998 – Kol Zimrah Award (given by Hebrew Union College-Jewish Institute of Religion)\n 1998 – Colleen Dewhurst Awards: \"in recognition for outstanding contribution to the arts\" (given by Northern Westchester Center for the Arts)\n 2000 – Presidential Medal (given by New York University)\n 2001 – Disney Legend Award\n 2008 – Inductee: NYU Musical Theatre Hall of Fame\n 2008 – Inductee: Songwriter's Hall of Fame\n 2009 – Lifetime Achievement Award (given during the Musical Awards)\n 2010 – Hollywood Walk of Fame Star\n 2011 – Maestro Award (given by Billboard/The Hollywood Reporter Film and TV Conference)\n 2012 – Honors: \"for extraordinary life achievement\" (given by Encompass New Opera Theatre)\n 2013 – The Oscar Hammerstein Award (given by York Theatre Company)\n 2013 – Broadway Junior Honors: \"in recognition for his contribution towards the advancement of musical theatre for young people\"\n 2013 – Freddie G. Award for Musical Achievement (given during Junior Theatre Festival)\n\nReferences\n\nAwards\nMenken, Alan"
] |
[
"James Randi",
"Author"
] |
C_04f4f1e689224942bf3484b38902cae8_1
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what did randi do as an author?
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what did James Randi do as an author?
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James Randi
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Randi is the author of ten books, among them Conjuring (1992), a biographical history of noted magicians. The book is subtitled Being a Definitive History of the Venerable Arts of Sorcery, Prestidigitation, Wizardry, Deception, & Chicanery and of the Mountebanks & Scoundrels Who have Perpetrated these Subterfuges on a Bewildered Public, in short, MAGIC! The book's cover says that it is by "James Randi, Esq., A Contrite Rascal Once Dedicated to these Wicked Practices but Now Almost Totally Reformed". The book selects the most influential magicians and tells some of their history, often in the context of strange deaths and careers on the road. This work expanded on Randi's second book titled Houdini, His Life and Art. This illustrated work was published in 1976 and was co-authored with Bert Sugar. It focuses on the professional and private life of Houdini. Randi also wrote a children's book in 1989 titled The Magic World of the Amazing Randi, which introduced children to magic tricks. In addition to his magic books, he has written several educational works about paranormal and pseudoscientific claims. These include biographies of Uri Geller and Nostradamus as well as reference material on other major paranormal figures. He is currently working on A Magician in the Laboratory, which recounts his application of skepticism to science. He was a member of the all-male literary banqueting club the Trap Door Spiders, which served as the basis of his good friend Isaac Asimov's fictional group of mystery solvers, the Black Widowers. Other books are Flim-Flam! (1982), The Faith Healers (1987), James Randi, Psychic Investigator (1991), Test Your ESP Potential (1982) and An Encyclopedia of Claims, Frauds, and Hoaxes of the Occult and Supernatural (1995). Randi was a regular contributor to Skeptic magazine, penning the "'Twas Brillig..." column, and also served on its editorial board. He is also a frequent contributor to Skeptical Inquirer magazine, which is published by CSI, of which he is also a Fellow. CANNOTANSWER
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Randi is the author of ten books, among them Conjuring (1992), a biographical history of noted magicians.
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James Randi (born Randall James Hamilton Zwinge; August 7, 1928 – October 20, 2020) was a Canadian-American stage magician and scientific skeptic who extensively challenged paranormal and pseudoscientific claims. He was the co-founder of the Committee for Skeptical Inquiry (CSI), and founder of the James Randi Educational Foundation (JREF). Randi began his career as a magician under the stage name The Amazing Randi and later chose to devote most of his time to investigating paranormal, occult, and supernatural claims, which he collectively called "woo-woo". Randi retired from practicing magic at age 60, and from his foundation at 87.
Although often referred to as a "debunker", Randi said he disliked the term's connotations and preferred to describe himself as an "investigator". He wrote about paranormal phenomena, skepticism, and the history of magic. He was a frequent guest on The Tonight Show Starring Johnny Carson, famously exposing fraudulent faith healer Peter Popoff, and was occasionally featured on the television program Penn & Teller: Bullshit!
Before Randi's retirement, JREF sponsored the One Million Dollar Paranormal Challenge, which offered a prize of one million US dollars to eligible applicants who could demonstrate evidence of any paranormal, supernatural, or occult power or event under test conditions agreed to by both parties. In 2015, the James Randi Educational Foundation said they will no longer accept applications directly from people claiming to have a paranormal power, but will offer the challenge to anyone who has passed a preliminary test that meets with their approval.
Early life
Randi was born on August 7, 1928, in Toronto, Canada. He was the son of Marie Alice (née Paradis) and George Randall Zwinge. He had a younger brother and sister. He took up magic after seeing Harry Blackstone Sr. and reading conjuring books while spending 13 months in a body cast following a bicycle accident. He confounded doctors, who expected he would never walk again. Randi often skipped classes, and at 17, dropped out of high school to perform as a conjurer in a carnival roadshow. He practiced as a mentalist in local nightclubs and at Toronto's Canadian National Exhibition and wrote for Montreal's tabloid press. As a teenager, he stumbled upon a church where the pastor claimed to read minds. After he re-enacted the trick before the parishioners, the pastor's wife called the police and he spent four hours in a jail cell. This inspired his career as a scientific skeptic.
In his 20s, Randi posed as an astrologer, and to establish that they merely were doing simple tricks, he briefly wrote an astrological column in the Canadian tabloid Midnight under the name "Zo-ran" by simply shuffling up items from newspaper astrology columns and pasting them randomly into a column. In his 30s, Randi worked in the UK, Europe, Philippine nightclubs, and Japan. He witnessed many tricks that were presented as being supernatural. One of his earliest reported experiences was that of seeing an evangelist using a version of the "one-ahead" technique to convince churchgoers of his divine powers.
Career
Magician
Although defining himself as a conjuror, Randi began a career as a professional stage magician and escapologist in 1946. He initially presented himself under his real name, Randall Zwinge, which he later dropped in favor of "The Amazing Randi". Early in his career, he performed numerous escape acts from jail cells and safes around the world. On February 7, 1956, he appeared live on NBC's Today show, where he remained for 104 minutes in a sealed metal coffin that had been submerged in a hotel swimming pool, breaking what was said to be Harry Houdini's record of 93 minutes, though Randi called attention to the fact that he was much younger than Houdini had been when he established the original record in 1926.
Randi was a frequent guest on the Long John Nebel program on New York City radio station WOR, and did character voices for commercials. After Nebel moved to WNBC in 1962, Randi was given Nebel's time slot on WOR, where he hosted The Amazing Randi Show from 1967 to 1968. The show often had guests who defended paranormal claims, among them Randi's then-friend James W. Moseley. Randi stated that he quit WOR over complaints from the archbishop of New York that Randi had said on-air that "Jesus Christ was a religious nut," a claim that Randi disputed.
Randi also hosted numerous television specials and went on several world tours. As "The Amazing Randi" he appeared regularly on the New York-based children's television series Wonderama from 1959 to 1967. In 1970, he auditioned for a revival of the 1950s children's show The Magic Clown, which showed briefly in Detroit and in Kenya, but was never picked up. In the February 2, 1974, issue of the British conjuring magazine Abracadabra, Randi, in defining the community of magicians, stated: "I know of no calling which depends so much upon mutual trust and faith as does ours." In the December 2003 issue of The Linking Ring, the monthly publication of the International Brotherhood of Magicians, it is stated: "Perhaps Randi's ethics are what make him Amazing" and "The Amazing Randi not only talks the talk, he walks the walk."
During Alice Cooper's 1973–1974 Billion Dollar Babies tour, Randi performed on stage both as a mad dentist and as Cooper's executioner. He also built several of the stage props, including the guillotine. In a 1976 performance for the Canadian TV special World of Wizards, Randi escaped from a straitjacket while suspended upside-down over Niagara Falls.
Randi has been accused of actually using "psychic powers" to perform acts such as spoon bending. According to James Alcock, at a meeting where Randi was duplicating the performances of Uri Geller, a professor from the University at Buffalo shouted out that Randi was a fraud. Randi said: "Yes, indeed, I'm a trickster, I'm a cheat, I'm a charlatan, that's what I do for a living. Everything I've done here was by trickery." The professor shouted back: "That's not what I mean. You're a fraud because you're pretending to do these things through trickery, but you're actually using psychic powers and misleading us by not admitting it." A similar event involved Senator Claiborne Pell, a confirmed believer in psychic phenomena. When Randi personally demonstrated to Pell that he could reveal—by simple trickery—a concealed drawing that had been secretly made by the senator, Pell refused to believe that it was a trick, saying: "I think Randi may be a psychic and doesn't realize it." Randi consistently denied having any paranormal powers or abilities.
Randi was a member of the Society of American Magicians (SAM), the International Brotherhood of Magicians (IBM), and The Magic Circle in the UK, holding the rank of "Member of the Inner Magic Circle with Gold Star."
Author
Randi wrote 10 books, among them Conjuring (1992), a biographical history of prominent magicians. The book is subtitled Being a Definitive History of the Venerable Arts of Sorcery, Prestidigitation, Wizardry, Deception, & Chicanery and of the Mountebanks & Scoundrels Who have Perpetrated these Subterfuges on a Bewildered Public, in short, MAGIC! The book's cover indicates it is by "James Randi, Esq., A Contrite Rascal Once Dedicated to these Wicked Practices but Now Almost Totally Reformed". The book features the most influential magicians and tells some of their history, often in the context of strange deaths and careers on the road. This work expanded on Randi's second book, Houdini, His Life and Art. This illustrated work was published in 1976 and was co-authored with Bert Sugar. It focuses on the professional and private life of Houdini.
Randi's book, The Magic World of the Amazing Randi (1989), was intended as a children's introduction to magic tricks. In addition to his magic books, he wrote several educational works about paranormal and pseudoscientific claims. These include biographies of Uri Geller and Nostradamus, as well as reference material on other major paranormal figures. In 2011, he was working on A Magician in the Laboratory, which recounted his application of skepticism to science. He was a member of the all-male literary banqueting club the Trap Door Spiders, which served as the basis of his friend Isaac Asimov's fictional group of mystery solvers, the Black Widowers.
Other books by Randi include Flim-Flam! (1982), The Faith Healers (1987), James Randi, Psychic Investigator (1991), Test Your ESP Potential (1982) and An Encyclopedia of Claims, Frauds, and Hoaxes of the Occult and Supernatural (1995).
Randi was a regular contributor to Skeptic magazine, penning the "'Twas Brillig ..." column, and also served on its editorial board. He was a frequent contributor to Skeptical Inquirer magazine, published by Committee for Skeptical Inquiry, of which he was also a fellow.
Skeptic
Randi gained the international spotlight in 1972 when he publicly challenged the claims of Uri Geller. He accused Geller of being nothing more than a charlatan and a fraud who used standard magic tricks to accomplish his allegedly paranormal feats, and he presented his claims in the book The Truth About Uri Geller (1982).
Believing that it was important to get columnists and TV personalities to challenge Geller and others like him, Randi and CSICOP reached out in an attempt to educate them. Randi said that CSICOP had a "very substantial influence on the printed media ... in those days." During this effort, Randi made contact with Johnny Carson and discovered that he was "very much on our side. He wasn't only a comedian ... he was a great thinker." According to Randi, when he was on The Tonight Show, Carson broke his usual protocol of not talking with guests before their entrance on stage, but instead would ask what Randi wanted to be emphasized in the interview. "He wanted to be aware of how he could help me."
In 1973, Geller appeared on The Tonight Show, and this appearance is recounted in the Nova documentary "Secrets of the Psychics".
In the documentary, Randi says that Carson "had been a magician himself and was skeptical" of Geller's claimed paranormal powers, so before the date of taping, Randi was asked "to help prevent any trickery". Per Randi's advice, the show prepared its own props without informing Geller, and did not let Geller or his staff "anywhere near them". When Geller joined Carson on stage, he appeared surprised that he was not going to be interviewed, but instead was expected to display his abilities using the provided articles. Geller said "This scares me" and "I'm surprised because before this program your producer came and he read me at least 40 questions you were going to ask me." Geller was unable to display any paranormal abilities, saying "I don't feel strong" and expressing his displeasure at feeling like he was being "pressed" to perform by Carson. According to Adam Higginbotham's November 7, 2014 article in The New York Times:
However, this appearance on The Tonight Show, which Carson and Randi had orchestrated to debunk Geller's claimed abilities, backfired. According to Higginbotham:
According to Higginbotham, this result caused Randi to realize that much more must be done to stop Geller and those like him. So in 1976, Randi approached Ray Hyman, a psychologist who had observed the tests of Geller's ability at Stanford and thought them slipshod, and suggested they create an organization dedicated to combating pseudoscience. Later that same year, together with Martin Gardner, a Scientific American columnist whose writing had helped hone Hyman's and Randi's skepticism, they formed the Committee for Scientific Investigation of Claims of the Paranormal (CSICOP).
Using donations and sales of their magazine, Skeptical Inquirer, they and secular humanist philosopher Paul Kurtz took seats on the executive board, with Isaac Asimov and Carl Sagan joining as founding members. Randi travelled the world on behalf of CSICOP, becoming its public face, and according to Hyman, the face of the skeptical movement.
András G. Pintér, producer and co-host of the European Skeptics Podcast, called Randi the grandfather of European skepticism by virtue of Randi "playing a role in kickstarting several European organizations."
Geller sued Randi and CSICOP for $15 million in 1991 and lost. Geller's suit against CSICOP was thrown out in 1995, and he was ordered to pay $120,000 for filing a frivolous lawsuit. The legal costs Randi incurred used almost all of a $272,000 MacArthur Foundation grant awarded to Randi in 1986 for his work. Randi also dismissed Geller's claims that he was capable of the kind of psychic photography associated with the case of Ted Serios. It is a matter, Randi argued, of trick photography using a simple hand-held optical device. During the period of Geller's legal dispute, CSICOP's leadership, wanting to avoid becoming a target of Geller's litigation, demanded that Randi refrain from commenting on Geller. Randi refused and resigned, though he maintained a respectful relationship with the group, which in 2006 changed its name to the Committee for Skeptical Inquiry (CSI). In 2010, Randi was one of 16 new CSI fellows elected by its board.
Randi went on to write many articles criticizing beliefs and claims regarding the paranormal. He also demonstrated flaws in studies suggesting the existence of paranormal phenomena; in his Project Alpha hoax, Randi successfully planted two fake psychics in a privately funded psychic research experiment.
Randi appeared on numerous TV shows, sometimes to directly debunk the claimed abilities of fellow guests. In a 1981 appearance on That's My Line, Randi appeared opposite claimed psychic James Hydrick, who said that he could move objects with his mind and appeared to demonstrate this claim on live television by turning a page in a telephone book without touching it. Randi, having determined that Hydrick was surreptitiously blowing on the book, arranged foam packaging peanuts on the table in front of the telephone book for the demonstration. This prevented Hydrick from demonstrating his abilities, which would have been exposed when the blowing moved the packaging. Randi writes that, eventually, Hydrick "confessed everything".
Randi was awarded a MacArthur Foundation Fellowship in 1986. The fellowship's five-year $272,000 grant helped support Randi's investigations of faith healers, including W. V. Grant, Ernest Angley, and Peter Popoff, whom Randi first exposed on The Tonight Show Starring Johnny Carson in February 1986. Hearing about his investigation of Popoff, Carson invited Randi onto his show without seeing the evidence he was going to reveal. Carson appeared stunned after Randi showed a brief video segment from one of Popoff's broadcasts showing him calling out a woman in the audience, revealed personal information about her that he claimed came from God, and then performed a laying-on-of-hands healing to drive the devil from her body. Randi then replayed the video, but with some of the sound dubbed in that he and his investigating team captured during the event using a radio scanner and recorder. Their scanner had detected the radio frequency Popoff's wife Elizabeth was using backstage to broadcast directions and information to a miniature radio receiver hidden in Popoff's left ear. That information had been gathered by Popoff's assistants, who had handed out "prayer cards" to the audience before the show, instructing them to write down all the information Popoff would need to pray for them.
The news coverage generated by Randi's exposé on The Tonight Show led to many TV stations dropping Popoff's show, eventually forcing him into bankruptcy in September 1987. However, the televangelist returned soon after with faith-healing infomercials that reportedly attracted more than $23 million in 2005 from viewers sending in money for promised healing and prosperity. The Canadian Centre for Inquiry's Think Again! TV documented one of Popoff's more recent performances before a large audience who gathered in Toronto on May 26, 2011, hoping to be saved from illness and poverty.
In February 1988, Randi tested the gullibility of the media by perpetrating a hoax of his own. By teaming up with Australia's 60 Minutes program and by releasing a fake press package, he built up publicity for a "spirit channeler" named Carlos, who was actually artist José Alvarez, Randi's partner. While performing as Carlos, Alvarez was prompted by Randi using sophisticated radio equipment. According to the 60 Minutes program on the Carlos hoax, "it was claimed that Alvarez would not have had the audience he did at the Opera House (and the resulting potential sales therefrom) had the media coverage been more aggressive (and factual)", though an analysis by The Skeptics Tim Mendham concluded that, while the media coverage of Alvarez's appearances was not credulous, the hoax "at least showed that they could benefit by being a touch more sceptical". The hoax was exposed on 60 Minutes Australia; "Carlos" and Randi explained how they had pulled it off.
In his book The Faith Healers, Randi wrote that his anger and relentlessness arose from compassion for the victims of fraud. Randi was also critical of João de Deus, a.k.a. "John of God", a self-proclaimed psychic surgeon who had received international attention. Randi observed, referring to psychic surgery, "To any experienced conjurer, the methods by which these seeming miracles are produced are very obvious."
In 1982, Randi verified the abilities of Arthur Lintgen, a Philadelphia doctor, who was able to identify the classical music recorded on a vinyl LP solely by examining the grooves on the record. However, Lintgen did not claim to have any paranormal ability, merely knowledge of the way that the groove forms patterns on particular recordings.
In 1988, John Maddox, editor of the prominent science journal Nature, asked Randi to join the supervision and observation of the homeopathy experiments conducted by Jacques Benveniste's team. Once Randi's stricter protocol for the experiment was in place, the positive results could not be reproduced.
Randi stated that Daniel Dunglas Home, who could allegedly play an accordion that was locked in a cage without touching it, was caught cheating on a few occasions, but the incidents were never made public. He also stated that the actual instrument in use was a one-octave mouth organ concealed under Home's large mustache and that other one-octave mouth organs were found in Home's belongings after his death. According to Randi, author William Lindsay Gresham told Randi "around 1960" that he had seen these mouth organs in the Home collection at the Society for Psychical Research (SPR). Eric J. Dingwall, who catalogued Home's collection on its arrival at the SPR does not record the presence of the mouth organs. According to Peter Lamont, the author of an extensive Home biography, "It is unlikely Dingwall would have missed these or did not make them public." The fraudulent medium Henry Slade also played an accordion while held with one hand under a table. Slade and Home played the same pieces. They had at one time lived near each other in the U.S. The magician Chung Ling Soo exposed how Slade had performed the trick.
Randi distinguished between pseudoscience and "crackpot science". He regarded most of parapsychology as pseudoscience because of the way in which it is approached and conducted, but nonetheless saw it as a legitimate subject that "should be pursued", and from which real scientific discoveries may develop. Randi regarded crackpot science as "equally wrong" as pseudoscience, but with no scientific pretensions.
Despite multiple debunkings, Randi did not like to be called a "debunker", preferring to call himself a "skeptic" or an "investigator":
Skeptics and magicians Penn & Teller credit Randi and his career as a skeptic for their own careers. During an interview at TAM! 2012, Penn stated that Flim-Flam! was an early influence on him, and said "If not for Randi there would not be Penn & Teller as we are today." He went on to say "Outside of my family ... no one is more important in my life. Randi is everything to me."
At the NECSS skeptic conference in 2017, Randi was asked by George Hrab what a "'skeptic coming of age ceremony' would look like" and Randi talked about what it was like as a child to learn about the speed of light and how that felt like he was looking into the past. Randi stated "More kids need to be stunned".
At The Amaz!ng Meeting in 2011 (TAM 9) the Independent Investigations Group (IIG) organized a tribute to Randi. The group gathered together with other attendees, put on fake white beards, and posed for a large group photo with Randi. At the CSICon in 2017, in absence of Randi, the IIG organized another group photo with leftover beards from the 2011 photo. After Randi was sent the photo, he replied, "I'm always very touched by any such expression. This is certainly no exception. You have my sincere gratitude. I suspect, however that a couple of those beards were fake. But I'm in a forgiving mood at the moment. I'm frankly very touched. I'll see you at the next CSICon. Thank you all."
In a 2019 Skeptical Inquirer magazine article, Harriet Hall, a friend of Randi, compares him to the fictional Albus Dumbledore. Hall describes their long white beards, flamboyant clothing, associated with a bird (Dumbledore with a phoenix and Randi with Pegasus). They both are caring and have "immense brainpower" and both "can perform impressive feats of magic". She states that Randi is one of "major inspirations for the skeptical work I do ... He's way better than Dumbledore!".
Exploring Psychic Powers ... Live television show
Exploring Psychic Powers ... Live was a two-hour television special aired live on June 7, 1989, wherein Randi examined several people claiming psychic powers. Hosted by actor Bill Bixby, the program offered $100,000 (Randi's $10,000 prize plus $90,000 put up by the show's syndicator, LBS Communications, Inc.) to anyone who could demonstrate genuine psychic powers.
An astrologer, Joseph Meriwether, claimed that he was able to ascertain a person's astrological sign after talking with them for a few minutes. He was presented with twelve people, one at a time, each with a different astrological sign. They could not tell Meriwether their astrological sign or birth date, nor could they wear anything that would indicate it. After Meriwether talked to them, he had them go and sit in front of the astrological sign that he thought was theirs. By agreement, Meriwether needed to get ten of the 12 correct, to win. He got none correct.
The next psychic, Barbara Martin, claimed to be able to read auras around people, claiming that auras were visible at least five inches above each person. She selected ten people from a group of volunteers whom she said had clearly visible auras. On stage were erected ten screens, numbered 1 through 10, just tall enough to hide the volunteer while not hiding their aura. Unseen by Martin, some of the volunteers positioned themselves behind different screens, then she was invited to predict which screens hid volunteers by seeing their aura above. She stated that she saw an aura over all ten screens, but people were behind only four of the screens.
A dowser, Forrest Bayes, claimed that he could detect water in a bottle inside a sealed cardboard box. He was shown twenty boxes and asked to indicate which boxes contained a water bottle. He selected eight of the boxes, which he said contained water, but it turned out that only five of the twenty contained water. Of the eight selected boxes, only one was revealed to contain water and one contained sand. It was not revealed whether any of the remaining six boxes contained water.
A psychometric psychic, Sharon McLaren-Straz, claimed to be able to receive personal information about the owner of an object by handling the object itself. In order to avoid ambiguous statements, the psychic agreed to be presented with both a watch and a key from each of twelve different people. She was to match keys and watches to their owners. According to the prior agreement, she had to match at least nine out of the twelve sets, but she succeeded in only two.
Professional crystal healer Valerie Swan attempted to use ESP to identify 250 Zener cards, guessing which of the five symbols was on each one. Random guessing should have resulted in about fifty correct guesses, so it was agreed in advance that Swan had to be right on at least eighty-two cards in order to demonstrate an ability greater than chance. However, she was able to get only fifty predictions correct, which is no better than random guessing.
James Randi Educational Foundation (JREF)
In 1996, Randi established the James Randi Educational Foundation. Randi and his colleagues publish in JREF's blog, Swift. Topics have included the interesting mathematics of the one-seventh area triangle, a classic geometric puzzle. In his weekly commentary, Randi often gave examples of what he considered the nonsense that he dealt with every day.
Beginning in 2003, the JREF annually hosted The Amaz!ng Meeting, a gathering of scientists, skeptics, and atheists. The last meeting was in 2015, coinciding with Randi's retirement from the JREF.
2010s
Randi began a series of conferences known as "The Amazing Meeting" (TAM) which quickly became the largest gathering of skeptics in the world, drawing audiences from Asia, Europe, South America, and the UK. It also attracted a large percentage of younger attendees. Randi was regularly featured on many podcasts, including The Skeptics Society's official podcast Skepticality and the Center for Inquiry's official podcast Point of Inquiry. From September 2006 onwards, he occasionally contributed to The Skeptics' Guide to the Universe podcast with a column called "Randi Speaks". In addition, The Amazing Show was a podcast in which Randi shared various anecdotes in an interview format.
In 2014, Part2Filmworks released An Honest Liar, a feature film documentary, written by Tyler Measom and Greg O'Toole, and directed and produced by Measom and Justin Weinstein. The film, which was funded through Kickstarter, focuses on Randi's life, his investigations, and his relationship with longtime partner José Alvarez (born Deyvi Orangel Peña Arteaga), to whom he was married in 2013. The film was screened at the Tribeca Film Festival, at Toronto's Hot Docs film festival, and at the June 2014 AFI Docs Festival in Silver Spring, Maryland, and Washington, D.C., where it won the Audience Award for Best Feature. It also received positive reviews from critics. The film was featured on the PBS Independent Lens series, shown in the U.S. and Canada, on March 28, 2016.
In December 2014, Randi flew to Australia to take part in “An Evening with James Randi” tour, organized by Think Inc. This tour included a screening of An Honest Liar followed by a "fireside chat" with Randi on stage. Cities visited were Adelaide, Perth, Brisbane, Melbourne and Sydney. MC in Adelaide was Dr. Paul Willis with Richard Saunders interviewing Randi. MC in Perth was Jake Farr-Wharton with Richard Saunders interviewing Randi. MC for Brisbane, Melbourne and Sydney was Richard Saunders with Lawrence Leung interviewing Randi.
In 2017, Randi appeared in animated form on the website Holy Koolaid, in which he discussed the challenge of finding the balance between connecting sincerely with his audience and at the same time tricking/fooling them with an artful ruse, and indicated that this is a balance with which many magicians struggle.
One Million Dollar Paranormal Challenge
The James Randi Educational Foundation (JREF) offered a prize of US$1,000,000 to anyone able to demonstrate a supernatural ability under scientific testing criteria agreed to by both sides. Based on the paranormal challenges of John Nevil Maskelyne and Houdini, the foundation began in 1996, when Randi put up $1,000 of his own money payable to anyone who could provide objective proof of the paranormal. The prize money grew to $1,000,000, and had formal published rules. No one progressed past the preliminary test, which was set up with parameters agreed to by both Randi and the applicant. He refused to accept any challengers who might suffer serious injury or death as a result of the testing.
On April 1, 2007, it was ruled that only persons with an established, nationally recognized media profile and the backing of a reputable academic were allowed to apply for the challenge, in order to avoid wasting JREF resources on frivolous claimants.
On Larry King Live, March 6, 2001, Larry King asked claimed medium Sylvia Browne if she would take the challenge and she agreed. Randi appeared with Browne on Larry King Live six months later, and she again appeared to accept his challenge. However, according to Randi, she ultimately refused to be tested, and the Randi Foundation kept a clock on its website recording the number of weeks since Browne allegedly accepted the challenge without following through, until Browne's death in November 2013.
During a subsequent appearance on Larry King Live on June 5, 2001, Randi challenged Rosemary Altea, another claimed medium, to undergo testing for the million dollars, but Altea refused to address the question. Instead Altea replied only, "I agree with what he says, that there are many, many people who claim to be spiritual mediums, they claim to talk to the dead. There are many people, we all know this. There are cheats and charlatans everywhere." On January 26, 2007, Altea and Randi again appeared on the show, and Altea again refused to answer whether or not she would take the One Million Dollar Paranormal Challenge.
In October 2007, claimed psychic John Edward appeared on Headline Prime, hosted by Glenn Beck. When asked if he would take "the Amazing Randi's" challenge, Edward responded, "It's funny. I was on Larry King Live once, and they asked me the same question. And I made a joke [then], and I'll say the same thing here: why would I allow myself to be tested by somebody who's got an adjective as a first name?" Beck simply allowed Edward to continue, ignoring the challenge.
Randi asked British businessman Jim McCormick, the inventor of the bogus ADE 651 bomb detector, to take the challenge in October 2008. Randi called the ADE 651 "a useless quack device which cannot perform any other function than separating naive persons from their money. It's a fake, a scam, a swindle, and a blatant fraud. Prove me wrong and take the million dollars." There was no response from McCormick. According to Iraqi investigators, the ADE 651, which was corruptly sold to the Baghdad bomb squad, was responsible for the deaths of hundreds of civilians who died as a result of terrorist bombs which were not detected at checkpoints. On April 23, 2013, McCormick was convicted of three counts of fraud at the Old Bailey in London; he was subsequently sentenced to ten years' imprisonment for his part in the ADE 651 scandal, which Randi was the first to expose.
A public log of past participants in the Million Dollar Challenge exists.
In 2015, the James Randi paranormal challenge was officially terminated due to Randi's retirement from, and thus lack of direct involvement with, the foundation.
Legal disputes
Randi was involved in a variety of legal disputes, but said that he had "never paid even one dollar or even one cent to anyone who ever sued me." However, he said, he had paid out large sums to defend himself in these suits.
Uri Geller
Randi met magician Uri Geller in the early 1970s, and found Geller to be "Very charming. Likable, beautiful, affectionate, genuine, forward-going, handsome—everything!" But Randi viewed Geller as a con-man, and began a long effort to expose him as a fraud. According to Randi, Geller tried to sue him several times, accusing him of libel. Geller never won, save for a ruling in a Japanese court that ordered Randi to pay Geller one-third of one per cent of what Geller had requested. This ruling was cancelled, and the matter dropped, when Geller decided to concentrate on another legal matter.
In May 1991, Geller sued Randi and CSICOP for $15 million on a charge of slander, after Randi told the International Herald Tribune that Geller had "tricked even reputable scientists" with stunts that "are the kind that used to be on the back of cereal boxes", referring to the old spoon-bending trick. The court dismissed the case and Geller had to settle at a cost to him of $120,000, after Randi produced a cereal box which bore instructions on how to do the spoon-bending trick. Geller's lawyer Don Katz was disbarred mid-way into this action and Geller ended up suing him. After failing to pay by the deadline imposed by the court, Geller was sanctioned an additional $20,000.
Geller sued both Randi and CSICOP in the 1980s. CSICOP argued that the organization was not responsible for Randi's statements. The court agreed that including CSICOP was frivolous and dropped them from the action, leaving Randi to face the action alone, along with the legal costs. Geller was ordered to pay substantial damages, but only to CSICOP.
Other cases
In 1993, a jury in the U.S. District Court in Baltimore found Randi liable for defaming Eldon Byrd for calling him a child molester in a magazine story and a "shopping market molester" in a 1988 speech. However, the jury found that Byrd was not entitled to any monetary damages after hearing testimony that he had sexually molested and later married his sister-in-law. The jury also cleared the other defendant in the case, CSICOP.
Late in 1996, Randi launched a libel suit against a Toronto-area psychic named Earl Gordon Curley. Curley had made multiple objectionable comments about Randi on Usenet. Despite suggesting to Randi on Usenet that Randi should sue—Curley's comments implying that if Randi did not sue, then his allegations must be true—Curley seemed entirely surprised when Randi actually retained Toronto's largest law firm and initiated legal proceedings. The suit was eventually dropped in 1998 when Earl Curley died at the age of 51 of "alcohol toxicity."
Allison DuBois, on whose life the television series Medium was based, threatened Randi with legal action for using a photo of her from her website in his December 17, 2004, commentary without her permission. Randi removed the photo and subsequently used a caricature of DuBois when mentioning her on his site, beginning with his December 23, 2005, commentary.
Sniffex, producer of a dowsing bomb detection device, sued Randi and the JREF in 2007 and lost. Sniffex sued Randi for his comments regarding a government test in which the Sniffex device failed. The company was later investigated and charged with fraud.
Views
Political views
Randi was a registered Democrat. In April 2009, he released a statement endorsing the legalization of most illegal drugs.
Randi had been reported as a believer in Social Darwinist theories, although he would denounce the ideologies and movements that formed around the theories in 2013.
Views on religion
Randi's parents were members of the Anglican Church but rarely attended services. He attended Sunday School at St. Cuthbert's Church in Toronto a few times as a child, but he independently decided to stop going when he was not answered when he asked for proof of the teachings of the Church.
In his essay "Why I Deny Religion, How Silly and Fantastic It Is, and Why I'm a Dedicated and Vociferous Bright", Randi, who identified himself as an atheist, opined that many accounts in religious texts, including the virgin birth, the miracles of Jesus Christ, and the parting of the Red Sea by Moses, are not believable. Randi refers to the Virgin Mary as being "impregnated by a ghost of some sort, and as a result produced a son who could walk on water, raise the dead, turn water into wine, and multiply loaves of bread and fishes" and questions how Adam and Eve "could have two sons, one of whom killed the other, and yet managed to populate the Earth without committing incest". He wrote that, compared to the Bible, "The Wizard of Oz is more believable. And much more fun."
Clarifying his view of atheism, Randi wrote "I've said it before: there are two sorts of atheists. One sort claims that there is no deity, the other claims that there is no evidence that proves the existence of a deity; I belong to the latter group, because if I were to claim that no god exists, I would have to produce evidence to establish that claim, and I cannot. Religious persons have by far the easier position; they say they believe in a deity because that's their preference, and they've read it in a book. That's their right."
In An Encyclopedia of Claims, Frauds, and Hoaxes of the Occult and Supernatural (1995), he examines various spiritual practices skeptically. Of the meditation techniques of Guru Maharaj Ji, he writes "Only the very naive were convinced that they had been let in on some sort of celestial secret." In 2003, he was one of the signers of the Humanist Manifesto.
In a discussion with Kendrick Frazier at CSICon 2016, Randi stated "I think that a belief in a deity is ... an unprovable claim ... and a rather ridiculous claim. It is an easy way out to explain things to which we have no answer." He then summarized his current concern with religious belief as follows: "A belief in a god is one of the most damaging things that infests humanity at this particular moment in history."
Personal life
When Randi hosted his own radio show in the 1960s, he lived in a small house in Rumson, New Jersey, that featured a sign on the premises that read: "Randi—Charlatan".
In 1987, Randi became a naturalized citizen of the United States. Randi said that one reason he became an American citizen was an incident while he was on tour with Alice Cooper, during which the Royal Canadian Mounted Police searched the band's lockers during a performance, completely ransacking the room, but finding nothing illegal.
In February 2006, Randi underwent coronary artery bypass surgery. The weekly commentary updates to his Web site were made by guests while he was hospitalized. Randi recovered after his surgery and was able to help organize and attend The Amaz!ng Meeting (T.A.M.) in 2007 in Las Vegas, Nevada, his annual convention of scientists, magicians, skeptics, atheists and freethinkers.
Randi was diagnosed with colorectal cancer in June 2009. He had a series of small tumors removed from his intestines during laparoscopic surgery. He announced the diagnosis a week later at The Amaz!ng Meeting 7, as well as the fact that he was scheduled to begin chemotherapy in the following weeks. He also said at the conference: "One day, I'm gonna die. That's all there is to it. Hey, it's too bad, but I've got to make room. I'm using a lot of oxygen and such—I think it's good use of oxygen myself, but of course, I'm a little prejudiced on the matter."
Randi underwent his final chemotherapy session in December 2009, later saying that his chemotherapy experience was not so unpleasant as he had imagined it might be. In a video posted in April 2010, Randi stated that he had been given a clean bill of health.
In a 2010 blog entry, Randi came out as gay, a move he said was inspired by seeing the 2008 biographical drama film Milk.
Randi married Venezuelan artist José Alvarez (born Deyvi Orangel Peña Arteaga) on July 2, 2013 in Washington. Randi, who had recently moved to Florida, met Alvarez in 1986, in a Fort Lauderdale public library. Arteaga had left his native country for fear of his life, as he was homosexual. The pseudonym Arteaga had taken, Jose Alvarez, was an actual person in the United States. The identity confusion caused the real Alvarez some legal and financial difficulties. Arteaga was arrested for identity theft and faced deportation. They resided in Plantation, Florida.
In the 1993 documentary Secrets of the Psychics, Randi stated, "I've never involved myself in narcotics of any kind; I don't smoke; I don't drink, because that can easily just fuzz the edges of my rationality, fuzz the edges of my reasoning powers, and I want to be as aware as I possibly can. That means giving up a lot of fantasies that might be comforting in some ways, but I'm willing to give that up in order to live in an actually real world, as close as I can get to it".
In a video released in October 2017, Randi revealed that he had recently suffered a minor stroke, and that he was under medical advice not to travel during his recovery, so would be unable to attend CSICon 2017 in Las Vegas later that month.
Randi died at his home on October 20, 2020, at the age of 92. The James Randi Educational Foundation attributed his death to "age-related causes". The Center for Inquiry said that Randi "was the public face of skeptical inquiry, bringing a sense of fun and mischievousness to a serious mission." Kendrick Frazier said, as part of the statement, "Despite his ferocity in challenging all forms of nonsense, in person he was a kind and gentle man."
Awards and honors
World records
The following are Guinness World Records:
Randi was in a sealed casket underwater for one hour and 44 minutes, breaking the previous record of one hour and 33 minutes set by Harry Houdini on August 5, 1926.
Randi was encased in a block of ice for 55 minutes.
Bibliography
Companion book to the Open Media/Granada Television series.
(Online version)
Television and film appearances
As an actor
Good to See You Again, Alice Cooper (1974) as the Dentist/Executioner
Ragtime (1981) (stunt coordinator: Houdini)
Penn & Teller's Invisible Thread (1987) (TV)
Penn & Teller Get Killed (1989) as the 3rd Rope Holder
Beyond Desire (1994) as the Coroner
Appearing as himself
Wonderama (1959–1967) (TV) as The Amazing Randi
I've Got a Secret (1965) (TV) as The Amazing Randi
Sesame Street Test Show 1 (1969) (TV) as The Amazing Randi
Happy Days – "The Magic Show" (1978) as the Amazing Randi
Zembla, 'De trucs van Char' (The tricks Char uses). (March 2008)
ZDF German TV (2007)
Wild Wild Web (1999)
West 57th (1980s)
Welt der Wunder – Kraft der Gedanken (January 2008)
Today (many appearances)
The Don Lane Show (Australia)
That's My Line (1981) (Appeared with James Hydrick)
The View (ABC) multiple appearances 1997 onwards
The Tonight Show Starring Johnny Carson (32 appearances between 1973 and 1993 plus repeats)
The Secret Cabaret (produced by Open Media for Channel 4 in the UK)
The Power of Belief (October 6, 1998) (ABC News Special) (TV)
People are Talking (1980s)
The Patterson Show (1970s)
Superpowers? (an Equinox documentary made by Open Media for Channel 4 in 1990)
After Dark (September 3, 1988 and September 9, 1989)
Weird Thoughts, Open Media discussion hosted by Tony Wilson for BBC TV, with Mary Beard and others, 1994
The Art of Magic (1998) (TV)
The Ultimate Psychic Challenge (Discovery Channel/Channel 4) (2003)
Spotlight on James Randi (2002) (TV)
Secrets of the Super Psychics (Channel 4/The Learning Channel), produced by Open Media, 1997/8
Scams, Schemes, and Scoundrels (A&E Special) (March 30, 1997)
RAI TV Italy (1991)
Politically Incorrect with Bill Maher
Penn & Teller: Bullshit! several appearances
"End of the World" (2003) TV Episode
"ESP" (2003) TV Episode
"Signs from Heaven" (2005) TV Episode
The Oprah Winfrey Show 2 episodes
Lawrence Leung's Unbelievable (Australia) TV Episode
Nova: "Secrets of the Psychics" (1993)
Mitä ihmettä? (Finland) (2003) TV Series
Midday (Australia) (1990s)
Magic or Miracle? (1983) TV special
Magic (2004) (mini) TV Series
Larry King Live (CNN) (June 5, 2001, September 3, 2001, January 26, 2007, several more)
James Randi: Psychic Investigator (1991) (Open Media series for the ITV network)
James Randi Budapesten – Hungarian documentary
Inside Edition – (1991, 2006, and 2007) TV
Horizon – "Homeopathy: The Test" (2002) BBC/UK TV Episode
Dead Men Talking (The Biography Channel) (2007)
Fornemmelse for snyd (2003) TV Series (also archive footage) Denmark
Extraordinary People – "The Million Dollar Mind Reader" (September 2008).
Exploring Psychic Powers ... Live (June 7, 1989; hosted by Bill Bixby)
CBS This Morning (1990s)
Anderson Cooper 360°, CNN (January 19, 2007, and January 30, 2007)
A Question of Miracles (HBO) (1999)
20/20 (ABC) (May 11, 2007)
An Honest Liar (2014, aired as Exposed: Magicians, Psychics and Frauds on BBC Storyville)
Appearances in other media
Dynamite magazine: Randi was featured as the cover story for the November 1981 issue.
In 2007, Randi delivered a talk at TED in which he discussed psychic fraud, homeopathy, and his foundation's Million Dollar Challenge.
Randi is featured in Tommy Finke's song "Poet der Affen/Poet of the Apes" released on the album of the same name in 2010.
See also
List of topics characterized as pseudoscience
Pigasus Award
Robert Todd Carroll's Skeptic's Dictionary
Notes
References
Further reading
External links
Wakelet Randi collection
Listings
James Randi in The Skeptic's Dictionary
Media
James Randi interview (May 2009) from the podcast of MagicNewswire.com in which Randi discusses his career in magic, his feud with Uri Geller and more.
James Randi interview (November 2007) from the BSAlert.com radio show where Randi discusses NBC's Phenomenon TV show, the current status of Uri Geller and his thoughts about whether society is becoming more or less superstitious.
"20 Major Aspects of Liars, Cheats, and Frauds" by James Randi
1928 births
2020 deaths
20th-century American writers
20th-century atheists
20th-century Canadian writers
20th-century Canadian male writers
21st-century atheists
American humanists
American magicians
American skeptics
American atheism activists
Articles containing video clips
Canadian atheists
Canadian emigrants to the United States
Canadian humanists
Canadian magicians
Canadian skeptics
Critics of alternative medicine
Critics of parapsychology
Escapologists
Florida Democrats
Canadian gay writers
Historians of magic
LGBT magicians
LGBT writers from the United States
MacArthur Fellows
Naturalized citizens of the United States
Paranormal investigators
People from Plantation, Florida
People from Rumson, New Jersey
Writers from Toronto
| false |
[
"The Mask of Nostradamus: The Prophecies of the World's Most Famous Seer is a 1990 book by magician and skeptic James Randi, published in paperback in 1993. Randi's biography looks past the \"mask\" of Nostradamus with a critical look at some of his alleged prophecies.\n\nReception \n\nNew Scientist wrote the book was a good biography exploring how people rewrite Nostradamus's predictions to give the illusion of fulfilled predictions. The Skeptic's Dictionary cites Randi as debunking Nostradamus' claimed predictions of Adolf Hitler.\n\nJohn Koontz wrote about the book that \"Randi can provide a much more parsimonious explanation than any given by true believers in prophecy\".\n\nJohn Blanton explains that in the book Randi described prophecy's believers willingness to bend the meanings of words in favor of their claims about Nostradamus.\n\nThe book received an average of 3.82 out of 5 stars at Goodreads, from 138 readers' ratings.\n\nEditions\n\nFrench edition by Editions Griot, 1994, as Le vrai visage de Nostradamus;\nPolish edition, 1994, as Nostradamus Bez Maski;\nItalian edition by Avverbi, 2001, as La maschera di Nostradamus;\nChinese edition, 2001.\n\nSee also\nJames Randi Educational Foundation\n\nReferences\n\nExternal links\nDescription from Prometheus Books\nDescription from the author, James Randi\nNostradamus listed in Randi's Encyclopedia\n\n1990 non-fiction books\nFrench biographies\nBooks by James Randi\nCharles Scribner's Sons books\nScientific skepticism mass media\nNostradamus",
"My Big Fat Obnoxious Fiancé was an American reality show that aired on the Fox Network in 2004.\n\nPlot summary\n\nAn elementary school teacher named Randi Coy is offered $250,000 for herself and $250,000 for the rest of her family if she takes part in a fake wedding engagement to a man named \"Steve Williams,\" who will also win $250,000 for himself and $250,000 for his family. They have to convince their families of their engagement and get married in 12 days time with all their family members attending and without any of them objecting, in order to win the money. However, what Randi does not know is that Steve is, in reality, a professional actor, whose goal is to make things difficult for Randi.\n\nIn the first episode, things get complicated as the fake fiance is revealed to be the very annoying and unattractive man who fits the show's title. The revelation of the engagement to Randi's family intentionally causes tension. The episodes after continue to follow Randi, Steve, and the Coys as they prepare for the wedding. To make matters more crazy, the Coys meet Steve's family.\n\nOn the wedding day, Steve and Randi arrive at the altar and proceed with their vows. Randi says 'I do' and when it comes to Steve's turn, he acts emotional and eventually announces that the whole wedding was a setup. At the same time it is revealed that Steve is in fact actor Steven W. Bailey, and his \"family\" were also all professional actors – something that even Randi did not know. When Steve reveals that \"it's fake\" and that he is an actor, Randi begins crying.\n\nBecause nobody caught on to the entire scheme, and because Randi was unaware that Steve was part of the scam, she and her family were presented with double the amount of money that Randi had expected – $500,000 for herself and $500,000 for her family.\n\nInternational\n\nThe German broadcaster Sat. 1 adopted the format and aired Mein großer, dicker, peinlicher Verlobter in late 2004.\n\nIn France Mon incroyable fiancé was aired on TF1 in summer 2005 and Mon incroyable fiancé 2 in summer 2009. In the second season, Christopher, a heterosexual, had to convince his family that he turned homosexual and wanted to marry his newly found boyfriend in Spain. As with the American version, the participant is unaware their fiance is an actor. A third season has started airing on October 17, 2014.\n\nIn the Netherlands Mijn vieze, vette, vervelende verloofde (\"My dirty, fat, annoying fiancé\") aired in September/October 2012.\n\nEpisodes\n\nSee also\n My Big Fat Obnoxious Boss\n My New Best Friend, a similar UK series\n\nReferences\n\nExternal links\n \n\n2004 American television series debuts\n2004 American television series endings\n2000s American reality television series\n2000s American parody television series\nAmerican dating and relationship reality television series\nEnglish-language television shows\nFox Broadcasting Company original programming\nReality television series parodies"
] |
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